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David Sorochty 



G.UL. ^ 



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Mf^riO^ PICTURE 

Classic 



July 



25^ 




F.W.Murnau 

Are There Any Great Loves 
In Hollywood? 

The Living Ghosts of the Screen 





Live Your Romances! 

Keep That Schoolgirl Complexion! 



In Paris, too, 

It's now Palmolive 

Today in France, home of cos- 
metics, Palmolive is one of the 
two largest selling toilet soaps, 
having supplanted French soaps 
by the score. French women, 
the most sophisticated of all 
women in beauty culture, by the 
thousands have discarded French 
soaps and adopted safe and 
gentle Palmolive. 




Retuil Price 



|C_ Palmnlivi Soap ii untniichtd by human hands until 
ynu break the wrapper it i\ never told unwrapptd 



^^T^EAUTY, Charm, Youth may not be 
■L) the fundamentals of Romance, but 
they help. Few readers of a "best seller" 
picture the heroine more than partially un- 
possessed, at least, of those attributes. 

To live one's romances today, one stays 
young as long as she can, makes herself as 
naturally attractive as she can and trusts the 
rest to her womanly intelligence. Under 
modern rules in skin care, thousands of 
women have gone an amazingly long way 
in that direction. 

Those rules, say experts, start with cleans- 
ing the skin regularly of beauty-imperiling 
accumulations; which means the use of soap 
and water The secret is that only 
a true complexion soap should be 
used on the face. 

Do this night and morning 
So, largely on expert advice, 
more and more thousands of 
women turn to the balmy lather 
of Palmolive, used this way: 

PAMOLIVE RADIO HOUR- 

10 to II p.m., eastern time; 9 to 
WEAF and 28 stations associated 



Wash your face gently with soothing 
Palmolive Soap, massaging the lather softly 
into the skin. Rinse thoroughly, first with 
warm water, then with cold. 

If your skin is inclined to be dry, apply 
a touch of good cold cream — that is all. 
Do this regularly, and particularly in the 
evening. 

Use powder and rouge if you wish. But 
never leave them on over night. They clog 
the pores, often enlarge them. Blackheads 
and disfigurements often follow. They must 
be washed away. 

Avoid this mistake 

Do not use ordinary soaps in the treat- 
ment given above. Do not think any green 
soap, or one represented as of olive and 
palm oils, is the same as Palmolive. 

And it costs but 10c the cake! So little 
that millions let it do for their bodies what 
it does for their faces. Obtain a cake— then 
note the difference one week makes. The 
Palmolive-Peet Co , Chicago, 111. 

Broadcast every Friday night — from 

10 p. m., central time over station 

with National Broadcasting Company. 



KEEP THAT SCHOOLGIRL COMPLEXION 




CTJTAKING his story from "Hang. 
v-^ man's House," the greatest novel 
Don n Byrne ever wrote and one of the 
world's best sellers, John Ford has 
again revealed his peerless genius for 
making screen history. 

"Hangman's House" will be a great 
picture even ten years from now. Its 
wild, high-spirited tale of Irish love 
and hatred, Irish devotion and Irish 
vengeance, will never grow old! 

You'll see your favorites at their best 
in this masterpiece of one of the 



world's master story tellers — Victor 
McLaglen as the mysterious Citizen 
Hogan; June Collyer as the unwilling 
bride of the Villain D'Arcy, portrayed 
with rare skill by Earle Fox; hand' 
some Lawrence Kent as the faithful 
lover and loyal friend— a superb cast 
assembled by an incomparable di- 
rector to do justice to an inimitable 
story! 

Watch for "Hangman's House" at 
your local theatre. Put it down now as 
one picture you don't want to miss! 





special "^ 
One Dollar Offer 



Subjects : 

Mary Astor 
Clara Bow 
James Hall 
Jack Holt 
Fred Thomson 
Sally O'Neil 
Ruth Taylor 
Ralph Forbes 
Olive Borden 
John Gilbert 
Dolores Costello 
Marcelline Day 
Renee Adoree 
Eleanor Boardman 
Charles Farrell 
Tom Mix 
Rudolph Valentino 
Janet Gaynor 
Joan Crawford 
June Collyer 
Vilma Banky 
Ramon Novarro 
Rod LaRocque 
Lloyd Hughes 



You can have this wonderful set of pictures of your favorites if you aci 
promptly. For a limited time we offer you this fine set of 24 new gravure 
pictures, size 5^/^ by 8 inches, with the next four issues of Motion Picture 
Ci-Assic, for One Dollar. That's a bargain! The pictures are just the 
thing for your den or your collection. Suitable for framing, too. Just pin a 
dollar bill to the coupon and mail to-day. Subscribe for your friends and we 
will send them each a set of pictures. Do it now ! 

Canada, twenty-five cents extra— Foreign, fifty cents extra. 

7 M.P.C. 

Motion Picture Publications, Inc., OflFer No. 3. 

Paramount Bldg., New York. 

For the enclosed $1.00 please send me the set of twenty-four new 
pictures of motion picture stars and the next four issues of Motion 
Picture Classic. 

Name 

Address 

Start with issue. 




9^0TI0K "PICTWRE 



Vol. XXVII JULY, 1928 No. 5 

— ^— ^i^^^l^— ^■^—■■—■l ^ Ill fll.B-^-l 11 I — ^^— ■— ^.^^i—^— 11 I I I II I ll.lll I ■■■■ ■■ I I ■ I ■ I. I I ■ —— ■— I 

Notable Features in This Issue: 

ARE THERE ANY GREAT LOVES IN HOLLYWOOD? Gladys Hall 16 

THE LIVLNG GHOSTS OF THE SCREEN Dorothy Spensley 18 

THE MOST MISUNDERSTOOD GIRL IN HOLLYWOOD Hal K. Wells 25 

THE MYSTERIOUS MR. FUHR Dorothy Donnoll 28 

.MURNAU OR NEVER Herbert Cruikshank 33 

The Classic Gallery 1 1-14 

Nena Quartaro, Thelma Todd, Pola Negri, Lew Cody 

Pictures and Personalities George Kent Shuler 15 

No Mean Feet! — picture page, DOLORES costello 20 

Conscience Doth Make Howards Herbert Cruikshank 21 

Hands Up ! — picture page, dolores del rio 22 

Betty Blooms Again Nancy Pryor 23 

Ring Around the Rosie — cartoon '. h. o. hofman 24 

He Plays Polo Helen Carlisle 26 

Ruth Is Stranger Than Fiction — picture page, ruth taylor 27 

Murder and Music Share the Summer Stage Frank Vreeland 30 

3 Times a Third of 3 Sisters — picture page, polly an\ young 32 

Blah-Relief — picture page, Louis wolheim, joh.n barrymore 34 

Secret History of the Month 35 

Two Mules That Have No Kick — picture page, phyllis haver 36 

From Toast to Toast Cedric Belfrage 37 

After the Call Is Over — picture pages, harry lancdon 38 

The Sucker Who Succeeded Dorothy Calhoun 40 

Overlooking Her Position — picture page, AUDREY Ferris 41, 

Reducing Herself to Riches Dorothy Manners 42 

She and Her Shadow — picture page, raquel Torres, monte blue 43 

Classic's Family Album — picture page, vera Reynolds 44 

Funny Side Up Gladys Hall 48 

The Looks of the Irish — picture page, pauline starke 50 

The Life of the Party — (caricature by Armando) Carol Johnston 51 

Camilla the Chameleon — picture page, Camilla horn 54 

Still Going Strong Walter Ramsey 55 

Old Glorifying the American Girl — picture pages, dorothy Sebastian, polly ANN young, 

ANITA page 56 

For Laughing Out Loud Hal K. Wells 58 

Louder and Sunnier — picture page, JOHN gilbert 59 

Vanity, Thigh Name Is Doris! — picture pt 'e, doris hill 62 

Thar's Gold In That Thar Boy Oscar Henning 63 

Uncle Carl's Beth Girl — picture page, beth laemmle 64 

The Classics Famous Departments 

They Say — Letters from Classic readers 6 

Our Own News Camera — The film world in pictures 45 

The Celluloid Critic — Some current films in review Laurence Reid 52 

Looking Them Over Out Hollywood Way — Newsy close-ups Dorothy Manners 60 

The Answer Man 74 

Cover portrait of Nancy Carroll by Don Reed from a photograph by Hommel 

Laurence Reid, Editor 

Colin J. Cruirkshank, Art Director 
Classic comes out on the 12ih of every mnnth. Motion Pictire Magazine the 28ih 

Subscription $2.50 per year, in advance, including postage, in the United States, Cuba. Mexico and Philippine Islands In Canada $3.00; Foreign 
Counlriei $3.50 per year. Single copies 25 cents postage prepaid. United States Government stamps accepted. Subscribers must notify us at 

once of any change in address, giving both old and new address. 

Published Monthly by Motion Picture Publications, Inc., at 18410 Jamaica Ave,, Jamaica, N. Y. 

Euttrtd at Ik* I'otI Offict at Jamaica, N. Y., as second-class mailer, under the act of March 3rd, 1S79. Printed in U. S. A. 
Georte Kent Shuler, President and Treasurer; Duncan A. Oobie, Jr., Vice-President; Murray C. Bernayt, Secretary. 

EXECUTIVE and EDITORIAL OFFICES, Paramount Building, l.SOl Broadway, New York City 

European Alentt, Atlat Publiihinj Company, 18, Bride Lane, London, E. C. 4. 
Copyrifht, 192S, by Motion Picture Publications, Inc., in Ike United Slates and Great Britain. 




Letters from Classic Readers 



$15.00 LETTER 
Something to Think About 

DEAR EDITOR: 
Come with me to a movie, fellow 
citizens, and bring your sense of 
humor and a bit of forbearance for the 
shortcomings of your neighbors. 

Have you ever counted the nunjber of 
times you have risen to let others pass, or 
caught your hair or hairnet on coat but- 
tons of those passing behind you? Ah, 
an argument for persons with long tresses 
not to remove their hats ! And how about 
those, knees being braced against your 
seat or a medley played by feet thereupon? 
Not so good, eh? 

Do you give or receive the "fifty-seven 
varieties" of perfume, powder, onions or 
ether edibles, including gum ? Are you 
the kind of gum addict that leaves the 
used article for the rest of us to further 
enjoy? It's a fine stunt, too, to shop, go- 
to a movie, take all your packages — and 
rattle and rattle them ! And oh yes — 
someone is always glad to read the lines 
for you, unsolicited, or the flappers will 
flap for you about their latest conquests. 
Ah well, a good time was had by all ! But 
— have a heart — you, you and you! ! ! 
(Miss) Mary B. Davis, 
Washington, D. C. 

$10.00 LETTER 
Give Them a Hand 
De.\r Editor : 
"Vou can never depend on the stars of 

today. They are so dif- 
ferent, so fickle!" Thus spoke 
a friend of mine. 

Is it really the stars that 
are fickle or arc they merely 
trying to. satisfy an ever- 
changing' public? Heavens! 
Could it possibly be us — the 
public, that are fickle? When 
I see people changing their 
favorites as quickly as they 
change their clothes, I won- 
der. 

Let us look at the stars' 
side of it. They have learned 
from experience how easy it 
is to be replaced by a younger 
face, a more beautiful profile, 
or for seemingly no reason at 
all. Yes, to be changed by 
the demands of the public 
who seemed to worship them 
a few months before. They 
have seen Charles Ray, Lila 
I-ee, Bessie Love, Bebe Dan- 
iels, and Phyllis Haver all 
reach stardom and popularity. 
They have seen these same 
players fall from stardom and 
fight to come back. 

The stars of today know 



the fickleness of the public. They know 
tliat they must be changeable in them- 
selves, constantly giving the public new 
types. They work hard to render them- 
selves worthy of the places they hold in 
the film world. Don't crab at them. Give 
them a hand. 

Mabel Shelhart, 
San Pedro, CaHf. 

$5.00 LETTER 
A Bargain at That 

■ Dear Sir : 
I SOMETIMES drop in to see a movie when 

it's raining, and on such occasions there 
is flashed before my eyes, previous to the 
starting of the picture, the information 
that the picture has been passed by the 
Board of Censorship. I have heard peo- 
ple say, "What is it that this board cen- 
sors?" But let's go on with the story. 

One of the pictures I saw a while ago, 
as the rain poured down outside, showed 
a scene in which a white man grabs a 
native girl in the tropics. He is on a 
couch, where she has just brought him 
refreshment. She fights him, but she's 
very small. The scene is cut, then flashed 
on again, with the native girl just gone. 
The man takes a drink ! 

In another picture a married woman 
gives her married lover the key to her 
apartment. She knows he is coming ! 
She is shown, taking a nice bath under a 
shower! Next, we see her in bed. He's 
gone ! She picks up the phone from a 
stand near the head of the bed and gets 



We Want to Know 



What you think of the movies and the stars. This page 
is devoted to Classic's readers, who are invited to write 
about their impressions of the pictures and players. Be 
as brief as possible, as letters must not exceed 200 words. 
We also suggest that you be entirely fair in your views. 
In other words. Classic would like to receive construc- 
tive criticism or arguments about the productions and 
performances. 

Fifteen dollars will be paid each month for the best 
letter, ten dollars for the second, and five dollars for the 
third. Besides these three prizes, we will also pay one 
dollar for any other letters printed. If one or more 
letters are found of equal merit, the full prize will go 
to each writer. 

Anonymous letters will not be considered. Sign your 
full name and address. We will use initials if requested. 
This is your department. We want you to take advantage 
of it. Letters must be addressed: The Letter Box, 
Classic, Paramount Building, 1501 Broadway, New York. 



his message. A flash shows him giving 
it to her. Presumably he's just saying 
"Good Night !" Perhaps he forgot it 
before. 

Censorship is certainly necessary. What 
is it they censor? Don't be silly! Well, 
what do you expect to see for fifty cents, 
anyway ? 

William Sanford, 
Box 574, San Diego, Calif. 

$1.00 LETTER 
"We Americans" Solves the Problem 

"■Vf/E Americans" is a phenomenon! 
When a picture can satisfy a uni- 
versal demand, it is extraordinary. By its 
variety of phases "We .Americans" an- 
swers the demand of practically every 
class of people. 

Its spirit of patriotism for the military; 
its love stofy for the romanticist ; its pa- 
thos for the emotionalist ; its beauty and 
moral for the student and poet; its 
comedy for the fun lover ! Whenever any 
one picture combines an interest for so 
many individuals, it is phenomenal. Few 
pictures have accomplished this feat. 

It has, in addition, a duo-appeal, to 
Americans, as well as to the foreign in- 
terest, with its Italian, German, Jewish 
and Irish characters, each one made indi- 
vidually lovable and interesting. Pleasing 
nationalities has been a problem to pro- 
ducers. This picture is a solution. 

Almost anyone from stenographer up 
to president and from manager down to 
bellhop may go to see it, and 
be pleased. Was there ever 
any one picture so con- 
structed as to interest so 
varied a group of individuals? 
That is clever work and it 
should enjoy a long run, 
coverin'g as it does so huge 
a scope. 

Chrystine M. Rannells, 
St. Louis, Mo. 



$1.00 LETTER 

Modern Stuff for Younger 
Generation 

Dear Editor; 

^IVE us more of Clara Bow 
^-^ and Buddy Rogers. We, 
the younger generation, make 
up the biggest part of the the- 
ater-going public, therefore, 
why not give us what we 
want. We want modern life 
stories, not old-fashioned pic- 
tures. We go to the theater 
to be entertained, not to cry 
our heads oflF seeing an out- 
of-date tragedy. Young girls 
and boys want mirth, gaiety 
and laughter. 

Eleanor Holtje. 



6 




^-^^'^''-' 




■•»' 

^^^ 




As "The Patent Leather Kid," Richard 
Barthelmess' successful epic of the 
U. S. Tank Corps, presented the American 
side of the war, "Out of the Ruins," his 
next picture, will present the French view- 
point. 



jV/f ARY Carr becomes a grandmother. No, 
not in real life, but for her role in 
Rod La Rocque's new picture for Pathe, 
"Love Over Night," in which Jeannette 
Loff has the featured feminine 
part. 



YYarner Brothers recently- 
purchased the screen rights 
to "The Desert Song," the 
musical comedy which played 
on Broadway for more than a 
year. It will be the first Vita- 
phone musical show and will 
be produced in full length. 



"|-Iere Comes the Band" has 
been selected as the title 
for the new Harry Langdon 
comedy now in production. 
Doris Dawson, recently placed 
under contract by First Na- 
tional, enacts the role of 
Harry's sweetheart. 



r\y account of her good work. 
First National has rewarded 
Alice White with featured 
roles. Alice wiU play the lead- 
ing role in "Show Girl," based 
on the story by- J. P. McEvoy. 



"H ^^ Cardboard Lover," 
Marion Davies' next pic- 
lure fon Metro-Goldwyn-Mayer 
will have Jetta Coudal in one 
of the featured roles and Rob- 
ert Z. Leonard will direct. 



"The FBO production, "Taxi 13," with 
Chester Conklin and Martha Sleeper, 
has Marshall Neilan as its director. 



'T'he voices of the motion picture stars 
can soon be heard in every home where 
there is a phonograph. Records of the 
players' voices will be made in Hollywood 
where a special recording apparatus will 
be installed. Dolores del Rio's voice will 
be among the first to be recorded. 



^otham is considering Betty Bronson 
and William Collier, Jr., Alice Joyce 
and H. B. Warner for the roles of the two 
leading couples in "Companionate Mar- 
riage," Judge Ben Lindsey's famous 
story. • 




fj OWARD Hawks is up in the air most of 
the time these days, but not mentally. 
He is directing "The Air Circus," a pic- 
lure based on the drama of commercial 
aviation and most of the scenes 
are being shot in the sky. Sue 
Carol, David Rollins and 
Arthur Lake are in the cast. 



Pred Niblo will direct Greta 
Garbo's new picture, "War In 
the Dark," an adapuiion of 
Ludwig Wol£f's novel of Eu- 
ropean military intrigue in 
which Conrad Nagel has the 
leading male role. 



IJpoN completion of her new 
and yet untitled picture 
based on Sardou's "Fedora," 
Pola Negri will sail to make a 
picture in Germany and then 
she plans to come back and 
make several independent pro- 
ductions. Her husband. Prince 
Mdivani, will accompany Pola 
to Germany. 



Rarbara 
loaned 



Kent has been 
by Universal to 
British Canadian Pictures for 
"Retribution," which will be 
filmed on the Prince of Wales' 
Ranch in Alberta. 



A NEW leading lady has been 
found for Ronald Colman. 
Lili Damita, one of the most 
beautiful and most popular of 
the young Continental screen 
stars, was selected by Samuel 
Goldwyn to lake Vilma Banky's place op- 
posite Ronald. Mile. Damita is the light- 
est of blondes with deep dark-brown eyes. 



This picture shows why Dorothy Sebastian won't put 

up with anyone referring to Flash as a "dumb 

animal." Dorothy feels perfectly safe with Flash 

at the helm of this bicycle built for two 



'T'he first epic picture of the 
dirigible will be filmed by 
Paramount. The story, the 
title of which will be "Dirig- 
ible," is by John Monk Saun- 
ders, author of "Wings." 



'pniNcs are getting under way at the Tec 
Art Studios for the new Dolores del 
Rio production, "Revenge," adapted from 
'The Bear Tamer's Daughter." 

^NOTHER Vilaphone special production 
ready to go into production at the 
Warner Brothers Studios is "The Singing 
Fool," with Al Jolson. Irving Berlin and 
Lou Silvers have arranged the musical 
namberg. 

]\Jo news page would be complete with- 
out at least one mention of a divorce 
Louise Brooks recently brought suit for 
divorce against her husband, Eddie Suther- 
land. Along with her complaint of cruelty 
she charged that he was always too busy 
with his work to give her the attention 
due a wife. 



8 



An adaptation of Peter B. Kyne's novel 
of the Northwest, "Tide of Empire," 
has gone into production at the Metro- 
Goldwyn-Mayer Studios under the direc- 
tion of Allan Dwan. Renee Adoree has 
the feminine lead and George Duryea, who 
has been loaned by Pathe, has the male 
role opposite her. George Fawcett and 
William Collier, Jr., are in the supporting 
cast. 



Y^hen "Beggars of Life," the 
picturization of Jim Tully's 

story, comes to the screen, it 
will have Wallace Beery in a heavy role, 
his first in a long time. 



P^EX Ingram, who prefers to produce his 
pictures in Nice rather than in Holly- 
wood, has announced that "The Three 
Passions" is the first of a series he will 
make for United Artists. It will go into' 
production shortly with his wife, Alice 
Terry, and Ivan Petrovitch in the leading 
roles. 

T'he romantic Mack Sennett comedy, 

"The Good-bye Kiss," will be released 

by First National. Sally Eilers, Matty 

Kemp and Johnny Burke are in the cast. 



"IJis Lucky Day," Reginald Denny's new 
picture of the prize-ring, is now in 
the midst of production. 

A STORY of the heartaches, romance and 
laughs of the gateway to America, en- 
titled "Ellis Island," is one of the special 
productions Paramount has scheduled for 
Emil Jannings. 



DiCHARD Arlen will play the role of a 
prize-fighter who becomes champion 
with the aid of his Irish sweetheart, Nancy 
Carroll, in "The Man I Love," in which 
they will be co-featured. 



r^OLUMBiy* has signed Elmer Clifton to 

direct John Boles and Olive Borden 

in a comedy drama as yet untitled. 



I 



Reduce where you want to Reduce 

Why This New Safe Method Takes Off Fat 

Wherever You Wish — Without Danger or Discomfort 




Now Banish Double Chin — Thick Neck, Fat Arms, Legs, Ankles 
— Large Busts, Waists and Hips — Quickly, Safely. No Star- 
vation Diets, No Punishing Exercises, No Dangerous Drugs. 
Results Positively Guaranteed or You Do Not Pay a Penny 



Throueh a remarkable new scientific discoverj-. it is now 
possible to redurc exactly where you want to reduce — 
easily, quickly and safely. Double chins that make you 
look ten years older vanish in a few days' time. L.arec 
busts, thick waists, big hips, fat arms and legs that 
fashion frowns on respond readily to the new treatment. 



Hosts of women whose appearance was ruined by excess 
fat on various parts of the body, many of whom had 
given up all hope of finding a sure and safe reduction 
method, have quickly regained youthful slenderness and 
litheness of line through the discovery of Viaderma. 



Accidental Discovery of Famous Chemists 




The discovery of Viaderma was purely accidental An 
eminent New York doctor, specializing in skin diseases, 
asked a group of colloidal chemists who. for years had 
enjoyed the highest professional standing with physi- 
cians and whose products were sold only to physicians, 
to try to find a remedy for chronic skin troubles. Col- 
loidal chemistry is one of the latest developments in 
chemical science. 

After a number of experiments these chemists prepared 
a cream which woula liberate oxygen freely when ab- 
sorbed through the skin. And then came the amazing 
surprise! 

They discovered that whenever the part being treated 
was fat. this excess weight quickly disappeared 

What It Is— What It Does 

Viaderma is a colloidal, inliltralinR cream conlaining double oxygen. It is golden 
brown in color, and when rubbed on any part of the body disappears at once, leaving 
a clean white foam. You don't have to guess — you see it vanish before your ver>' eyes, 
proving how it is absorbed and penetrates right into the fat layers, where the oxygen 
(like the oxygen in the air you breathe) gradually melts away excess fat. 
As Viaderma filters through the skin and into the fat lavers it immediately begins to 
give ofT pure oxygen. This oxyfjen combinesi with and disposes of fat in exactly the 
same natural manner as in exercise When you exercise you take fast, deep breaths, 
absorbing increased oxygen into your blood. This oxygen is the means whereby the 
fat is dismtegrated With Viaderma you accomplish the same and even more desirabtc 
results, for you limit the action to chin. neck, busts, hips, legs, or wherever you wish. 

What Women Say Who Have Used Viadermd 

You have read what scientists and specialists say about Viaderma. You have seen 
how they endorse and approve it. These scientific opinions prove that it is sure, safe and harmle&s. 

But more convincing than anything else to most people who want to reduce is the actual experience of folRs who have 
bought and used Viaderma. Oay bv day letters come to us from grateful men and women telling of remarkable results. 
There is space here to print ortly a few F^ead what these people say. For ohrious reasons we do not give their names in 
iirint, but these signed letters are on file at our oJ]ces: — 



Exhaustive clinical tests were then made to reduce 
excess fat on ever>' part of the body. Results were 
obtained with a uniformity that was amazing. So 
convincing have been these tests that these speciahsts 
unhesitatingly say that there is no question aoout the 
power of Viaderma to remove 
lat. And it is so safe and 
harmless that it has 
received the endorse- 
ment and approvn' 
of rheinists anti 
shvsicians of ^*-- 



Note the Difference 

See what a wonderful difTerence youth- 
ful slimness — clean, slender, lithe lines 
— makes in one's appearance! Why per- 
mit heavy, unsightly lumps and chunks 
of fat to add years to your looks, to bar 
you from wearing the latest beautiful 
thinc^s. to make vou less attractive in a 
bathing suit or dance frock? I.et Via- 
derma end your fat worries. 





"irs WoBdcrfHl** 

"I am Riad indeed that I 
took the Viaderma treat- 
ment for reduction. To be 
fat is both distasteful and 
ungraceful and I most cer- 
tainly was over weight. At 
the end of eighteen appli- 
cations I had lost over three 
inches waist measurement 
and more than four inches 
around hips. I notice that 
after using Viaderma that 
the flesh becomes firmer and 
of better texture. I am 
going to recommend Via- 
derma whenever I get a 
chance It's wonderful. 
Yours very truly," 



"RamarkabU R*ductwn'* 

"I w&nt you to know of how 
much brneht Viaderma has 
bron to me. I have used it on 
my lo«* and the reduction has 
been remarkable— about three- 
quarters of «D inch in sii 
weeks' time. I shall certainly 
continue to use it and expect 
further results. 

Yours very truly." 

''Suryrisad at Results'* 

"The cream is quite rvmark- 
abU and althouxh I ve only re- 
cently riven it any kind of a 
fair test. I am surprised st the 
results. One inch ofT my neck 
and that's goinc some. I shall 
certainly recommend Viader- 
ma whenever I can. 

"ThaokiDg you again, I am 
Cordially youra." 



Has Last 29 Pounds and Feals 

So Much Better 

"Aftei Hbout six weeks' 
treatment with Viaderma. 
I feel that I must let you 
know how wonderfully it 
has helped me. I have re- 
duced from one inch to two 
and one-haJf inches over 
arms and legs, and over two 
inches in the neck. During 
this period I lost 29 pounds 
and feel ever no much better 
in general health Viaderma 
Is truly the solution of safe 
and sane fat reduction 

Very uuly yours," 




Dr. Emil Sauw, 
prftctirinc N«w 
EnslAad physl- 
cUa. uid sn^U' 
•t« of 4 pfomi- 
BSQt Gcroisn 
univsnlty. wmy9: 
' 'VUdvma will 
lak« off tm\ OD 
ftny part ei th« 
t>odT. Thi* It 
broucht kbout 
by ttta r«l*a** ol 
• on- 
tbs 



couibinM with 
(■t. DMlttns ii 
down K> thftt the 
multADt by- 
produett srs 
thrown ofl bjr 
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You^d Never Know 
Aunt Effie Now] 

I DON'T mind telling you that it was pretty tough on Dick and me for c 
while. Dick's my husband, you know. And except for one thing about him 
I'd have been perfectly happy. 

That was that he was one of these men with a sense of duty. Strong, you know. 
But not silent. What he thought he spoke. 

So when he felt sorry for Aunt Effie, he said so. 

"She's all alone in the world, with nothing on her mind but her hair." he said. I 
was prompted to make the point that that wasn't hers, but I let it go. 

"We ought to go and see her at least once 
every two weeks. I know it's tiresome. But 
it cheers her up so." 



Maybe it did — if you could live through it. 
Boring wasn't the word. Aunt Effie was 
the human weevil. Her idea of excitement 
was to show yoi] how much better the fruit 
in the bowl on the sideboard looked after 
she'd renewed its schoolgirl complexion with 
water colors. If nature abhors a vacuum, 
it would have shuddered at her mind. 

After two years of this I broke down. 
"Dick," I said, "I can't go on. Something 
must be done. I can't listen again to the 
story about what Aunt Effie's boy friend 
said to her twenty years ago." 

But Dick was firm. Succinct, but firm. "We 
must," he said. 

I was desperate. Then, as happens once in 
a lifetime, came an idea. I spoke of it to 
Dick. "What that old girl needs," I said, "is 
a good dose of Classic." 

So, at the next ordeal, I left a copy with her. 
When we called two weeks later, she was 
out. And again two weeks after that. We 
had finally to pin her down to a date. 



"I won't be home tonight," she said, "but I'^f 
you like, we can all go to see Passionate 
Petting. They say it's a hot number." We 
went and it was. 

"I knew this was no flop," said Ef — I got to 
calling her that before the evening was over 
— "because Classic gave it a good send-of!. 
And Classic said, too " 

We see Ef frequently now. We discuss the 
love-life of Chester Conklin, Jackie Coogan's 
latest divorce and Dolores De Rio's most 
recent speech before the Epworth League. 

You wouldn't know the old girl now. You 
wouldn't know she was old. In fact, at heart, 
she isn't. Just the other day she was saying : 
"This dress, of course, would be a bit youth- 
ful for Sally Blane, but I think on me " 

And it's all due to Classic. 

I pass on this little slice of life to you. Have 
you any bad relations you want made good? 
Are any of your friends tired of life? Or 
are you? 

To them or to yourself, administer Classic 
every month. The prescription is one copy 
every thirty days, before or after or during 
meals. 




Motion Picture 

CLASSIC 



It's 

The Magazine 

With The 

Personality 



10 




Nena Quartaro 

Very B. V. D. we should say of her — meaning 
beautiful, volcanic and disturbing. Why send 
Lindbergh to Latin-America in the cause of 
amity, when Latin-America has already insured 
it by lending us Nena? 




Thelma Todd 

Whether or not the test of a woman's beauty is how she 
looks in a kimono needn't concern her at all. She wins 

either wav 




Richee 



Pola Negri 



..•«_T-- 



Her hair gone white from having to enact some of the stories- that have 

been inflicted upon her since "Passion"? Not exactly, although it well 

might have. This is how Pola will look ns one of "Three Sinners.' Wlio 

are the other —and fortunate — two? 




Proving that Hollywood deserves its reputation for 
dissipation. There he is, and before breakfast, read- 
ing big black headlines. And again and later, mocking 
the curfew by not starting to bed until half-past ten. 
Note, too, hia> villainous smile of defiance 



The Magazine With the Personality 

MOTION PICTURE. 



(^L^^«IO 



Pictures and 

Personalities 



By George Kent Shuler 

Publisher 




THE majority of observing people have no illusions 
concerning America's greatest industry. Statisticians 
of the textile, steel, automotive, motion picture ami 
other industries may bob up to annoy them, but the wise 
ones know and know full well that all of these must fold 
up their tents when compared to the industry of attention- 
calling. Yes, indeed, attention-calling is flourishing as 
nothing else has ever flourished in this country since 
Plymouth Rock refused to land on the Pilgrims. 

This great and growing industry is especially potent in 
journalism where jts battalions already far outnumber 
those of the press agents. It is hard to believe, but calling 
attention, or to he more frank, finding fault, has become 
more popular than ballyhooing. It seems as if everyone 
had constituted himself an attention-caller in this day and 
age. Perhaps, the prevalence of the censor.'^hip spirit has 
had somtthing to do with it. However, it is not always 
called censorship. Sometimes it masks under the lofty 
monickers of welfare associations, organizations for the 
improvement of this and that. 

Agitation 

THE purpose of them all is to call attention to some- 
thing, to mind somebody else's business, in short, tc 
reform. So it reduces itself in the end to that univer.sal 
pastime of America— reforming your neighbor before he 
reforms you. 

The movies are feeling the pressure of this tremendous 
movement. Not a day passes that they are not being 
reformed by armies of attention-callers. 

Producers, directors, writers, news-gatherers and the 
boys of the bally-hoo have orders to keep their sensitive 
noses away from spectacular scandals, their sensitive ears 
away from the tolling of the sex o'clock bell, their sen- 
sitive eyes away from obscenities. They have concen- 
trated their time' and energy on the details of film pro'luc- 
tion, content to let professional bodies take care of the 
more important items mentioned above. 

And what has been the fruit of their labors? Looking 
over the tal)ulations assembled. I find that most of the 
attention-calling has been directed at wisecrack titles. 



Business of Calling Attention 
"nroo many wisecrack titles," reads a report. "Movie 
'■ patrons say story, acting, directing and photography 
are being sacrificed to short and snappy clippings from 
the humorous weeklies." 

"Some years ago," writes another attention-caller, "we 
protested "against the persistent use of 'Came the Dawn' 
and .'That Xight' in subtitles. The protest had good ef 
feet. I never see them any more, but I do see far too 
many puns from the comic weeklies lugged in without 
any real pertinence to the story. Can't something be 
done about it?" 

Something probably can and will. Meanwhile, we shall 
set down briefly and accord the remaining items to the 
prominent display given them on the screerh- 
Reduce number of close-ups of heroine. 
Reduce dental smiles of great lovers in embrace. 
Reduce use of back of hand to mouth to express every- 
thing from horror to idiocy. 

Reduce scenes of people climbing stairs. 
Reduce number of athletic contests won in last foot of film. 
Reduce use of clenched fists on the part of Irish female 
characters. 

Reduce "shots" in news reels of battleship maneuvers. 
Reduce sudden transformation of smart -aleck hero into 
humble, self-sacrificing hero. 

Reduce embraces in which feminine partner is bent 
i)ackward to an angle approximating ninety degrees. 

Reduce "shots" of marching feet in battalions of 
soldiers. 

Reduce scenes of bur.sting dams. 

Rerluce use of Oxford hags as representative of col- 
lege boys. 

Reduce number of disrobing scenes as means of regis- 
tering sex appeal. 

When it is considered that attention-callers were influ- 
ential in the past in reducing, among other details, the use 
of puttees by directors, in eliminating the final fade-out 
of a couple, their arms entwined, walking down the road 
into a dying sunset, and in refusing to accept the age of 
a curly-haired ingenue as eternally sixteen, it is not be- 
yond comprehension to believe that they will again make 
their voices heard in the \v(irld of motion pictures. 

15 




By Gladys Hall 



ARE there any great loves in Hollywood? 
^^ The answer is "NO!" 

You can almost answer that for yourself. Great 
loves create great lives. Great lives create great deeds. 
Great deeds create great memories. When the tidal waves 
of the years have swept over Hollywood, how many great 
memories will survive? Where will be the reigning 
favorites of to-day? Inscribed on the pages of immor- 
tality? I'm afraid not. Among the Duses, Booths, Bern- 
hardts, Rejanes? No. The stuff of suttee has gone 
out of the world. It never came to Hollywood. Can 
you conceive of any Hollywood houri casting herself 
upon the funeral pyre of husband or boy-friend ? Don't 
be morbid ! 

Stars come and stay awhile, live their little or their 
longish hour and flutter into oblivion. Why? 

May it not be because there are no great loves to mold 
the grease-paint gods and goddesses into enduring marble ? 

Are they incapable of great loves? Lies the explana- 
tion m the fact that tiieir emotions are only as thick as the 



Can Deep'Down Devotion 

Glossy 



Has it ever occurred to you that no great people have 
ever loved the celebrated beauties of the cinem5? 

Here, gathered together in a garden of almonds, roses 
and orange blossoms, is a bevy of fair ones that would 
put Tennyson's fusty "Dream of Fair Women" to red 
and rabid rout. Titians and beamish blondes, fiery bru- 
nettes and imperious foreigners, gamine cuties and lan- 
guishing Mexicans, curves and tints and petaled hands 
and lilting feet all swathed in the culled preciosities of the 
world, alight with jewels and housed like Semiramis and 
Scheherazade. 

What of it? What does it get them in the marriage 
marts of the world? 

Does a Lindbergh pay court in Hollywood ? 

Do the colossi of Wall Street offer up the Bull and 
the Bear to these photographic feet? They do not. 

Do the giants of literature, forever seeking the ulti- 
mate perfection, take wives among the scintillating 
shadows? No! 

Now and again Hergesheimer or Mencken drdp in to 



grease-pamt they .spread on their higher-mathematically play chess with Aileen Pringle. She's the exception 

perfect cheek-bones? Is it that the razzle-dazzle of the Michael Arlen has been known to do right by Bebe 

Kleigs leaves them unlit when the last splutter dies down ? Daniels in the matter of luncheons, teas and dinners. 
Do these liberal dispensers of 



"It" give stones when asked for 
bread ? In vulgar parlance, which 
it pains me more to use than you 
to read, don't they "come across" ? 

16 



From left to ripht, they are: Mr. and Mrs. 

Thomas Meighan, Carmel Myers, Alice White, 

and Mr. and Mrs. Antonio Moreno 



Carl Van Vechten has been 
espied casting a pleasantly ap- 
praising eye on the vivid Carmel 
Myers. That's fair enough. 
But marriage? 



lx>ves 




m 



llywood 



Be Found Beneath Its 
Glamor? 



These men-who-matter do not marry them. They do 
not even posture as more-or-less permanent boy-friends. 
When the spectacular Joan Crawford or the super- 
charged Alice White stroll into a cafe or a theater lobby, 
they are followed by beardless youths, parentage un- 
known, recently hatched and feathery and unimportant. 

Why? With everything to give, and we admit it — 



Time Brings the Loyalties 



shall 



who 



A RFXENT novelist says very beautifully what I 
■^^ say very stupidly. 

He calls attention to the fact that tho.se of us 
experience only the exciting physical loves of the moment 
know less of love than does a child who has lost his dog 
yesterday. Much less. He says that only Time can place 
such loves among the loyalties. 

The loyalties, lovely word. Loyalties that endure 
through the years streaked witb sun and racked with 
storm. Through lean years and years of plenty. Through 
fair fortune and dull adversity. Through humble toil 
and obscurity. Through child-bearing and patient tears. 
Into exile and privation. 

How many of the lovely 
Loreleis of the screen would 
forsake their Art for 



any 



.such immolations? How many 



of them have said to me, vehemently, "I would not give' 
up my work for aiiy man!" 

Are their roots in grease-paint, nurtured by fan ap- 
plause? Their love fevers running now high, now low? 
Their lives like pictures, patterned like patchwork, 
stitched together by the glistening threads of publicity? 

What do they know of the great loves? 

Not necessarily one great love. There is no point in 
being fantastic. There may. in a lifetime, be two or three 
loves deservedly called great. But not two or three a 
week, a month or even a year. 

Napoleon, whose love for Josephine came in with his 
adolescence and went out with the death-rattle in which 
he called her name. 

Lincoln, whose love for Aim Rutledge overlaid his life 
with the veil of martyred tenderness. 

Keats, whose love for Fanny Brawn .stained his lyrics 
• with blood and beauty. 

Duse, whose single love for d'.Annunzio earned the 
sovereign of the Tragic Muse to live like a suffering nun. 

Shakespeare and his Dark Lady of the Sonnets— so 
deep in the roots of his being that even her obscurity has 
been immortalized. 

Toe, who racked his midnight soul to hell because of 
Virginia Clemm. Who sang his love for her in dozens of 
tortured poems. 

What does anyone to-day know of loves like these? 

Has the great heart of hu- 
manity been devitalized, me- 
chanized, so that love turns 
off and on like a spigot? 
(Qontiiiucd on page 68) 



From left to right: Mary Pickford and Douglas Fair- 
banks, Joan . Crawford, Jark Dcmpsey and Estelle 
Taylor, Edmund Lowe and Lilyan Tas-liman, and 
Aileen Pringle 



17 




lining 




host^ 



Yesterday's Stars WaitI 
Great Role That Willi 




B>' Dorothy Spensley 

LOOK, here's one that says 'America's foremost moving picture 
actress appears in Imp Films only.' " 
■^ She turned the page slowly, lovingly. The scrap-book wai 
worn by much handling. It was yellowed and dingy. A tatterei 
clipping flurried by. It commenced "The superb motion picture 
actress — " 

"And here's a nice one," unfolding a frayed edge. "See, it says 
'Florence Lawrence, at present credited with being the most popular 
and highest salaried emotional pantomimist in America, plays three 
hundred roles a year, is photographed four million times and is 
mistress of a thousand faces.' " 

Small, veined hands smoothed it carefully into worn creases. 
Another clipping slithered by: "Florence Lawrence is really one 
of the most wonderful women in the world. . ." 
Page after page of adulation. 

"I started in pictures in 1908. I was the original Biograph 

girl. Why, I was once the most famous woman in the world ! 

Not just in the United States. In the whole world ! And now. . ." 

Today. Florence I^wrence is manufacturing cosmetics, playing 

oceasionally in obscure pictures, Hving practically in retirement. 

What is the great tragedy of Hollywood? Not death, with its 
forgiveness. Nor spent love, with its forget fulness. Nor lost 
ambition, hope, illusions, dreams. The greatest tragedy of Holly- 
wood is in its living ghosts. Its stars of yesterday, rainbow clad 
in fame, who are now dim names. Overwhelmed by life and its 
complexities. By' changing modes and manners. Overwhelmed 
by this avalance of youth. Of this younger crowd of Sue Carols, Charlie 
Farrells, Janet Gaynors, Gary Coopers. Resigned to waning glory. Phil- 
osophical. 

Waiting for the Great Part 

H.\T has become of J. Warren Kerrigan, Florence Turner, Ella Hall, 
Ruth Stonehouse? Harry Myers and Rosemary Theby, that once-cele- 
brated team, have turned backs upon pictures for vaudeville. There, too, 
Maurice Costello, greatest leading man of them all, seeks conciliation. 
William Farnum waits in his hillside home for the part that is to bring him 
again into glistening prominence. His brother, Dustin, makes fitful returns 
to the sthge. Doraldina of the agitated hips, the shimmy queen of the pre- 
Gilda days, is making little pots of lip rouge and cold cream, and so is Edna 
Flugrath. Mary Fuller studies art and languages and waits. For what? 
What do they wait for ? For that part, that great role, that is to re-establish 
them to fame. 

In no place else could it happen. It would have to be Hollywood. Topsy- 
turvy town. L'p today, down tomorrow. Chaliapin, Schumann-Heink, Gar- 
den, can sing to death. There is no hmitation in literature, in science, in art. 

In motion pictures a crow's-foot is the stamp of oblivion. 

Some have survived, of course. Skilful management. 

skilful lighting, skilful pat-pat-patting of the masseur. 
From top to bot- Florence Lawrence bent a blonde head over a picture, 

i**"tt7 ^''^ Hall, "Recognize that one? He was a prop boy when I was a 
i'. F,"'" ^i*"'" Star. And now he's a big director. He doesn't always 

gan, Morenre Law- , . , » , i • ■ , t • i ■ 

rence and Elmo know me, these days. And this girl. . . I started her m 
Lincoln pictures. She worked as an extra for me. I don't see 



Of 

Hope 
Rene 



Tlieb» 

Jjpan, » 

add modi 

Hovi 

,£antt!!y 

frieii(is i 



I BAT 

M'tn 
think 1 
dav, I 
F-' 
1-. 
i&kl 
art h 



"Can 

yfe don 

But, of 

01i,t 

"Im 

optras,' 

days, h 

«m 

q. I 

"My 

fivt ye 

•Tlttl 

seela 



pa.^>i: 
Thfi 
wes. 






tht tet 
feet 
rijan 
served 



Jtiti 



fojt; 



18 




of t^e \cr een 



Hopefully For The One 
Renew Their Glory 



very much of her, any more. She has her own production company. 
But, of course, I don't go out a great deal." 

The book is crammed with ghostly dreams. Echoes of days of glory. 
So is the little frame bungalow. Curios from China, from Java, from 
Japan, salvaged from the great house in New Jersey. Two ukuleles 
add modernity to a table. 

How does it feel to be forgotten? These living ghosts of Hollywood 
can tell you. Or are they entirely forgotten? There are still faithful 
friends and fans. Compatriots of other days. 

Through at Thirty-five 

"T HATE this sob stuff," Florence lit a cigarette. "I'm not dead yet. 
^ I'm only thirty-five. My cosmetic business is doing well. You'd 
think 1 was ready for the old ladies" home. A reporter came out one 
day. I was sitting here playing my ukulele, playing 'Fairweather 
Friends.' 'Play something, won't you?' he asked when he came in, and 
I repeated the song. You should have seen what he wrote. You'd 
think I was living in poverty, the way he described my antiques. There 
are thousands of dollars represented here," a sweep of the hand in- 
cluded the room, "and he said 'the little woman' sat playing her own 
composition, 'Fairweather Friends' ! 

"Can you beat it ? Some of my fans wrote 'Dear Florence Lawrence, 
y6u don't have to starve. We will send you railroad fare and you can 
live with us for the rest of your life.' Oh, yes, they still remember. 
But, of course, I'm not really out of pictures." 

Oh, no, tomorrow is another day. Tomorrow may bring that part. 

"I made a picture just last week. One of those 'horse 
operas,' " an apologetic shrug of the shoulder. "These 
days, huh! do you know they asked me if I wanted gly- 
cerine for tears! Imagine, glycerine! As if I couldn't 
cry. But they all use it. We didn't in my day. 

"My cosmetic business is doing well. I've had it for 
five years now. Of course, my name does a lot for it. 
'The Florence Lawrence Hollywood Cosmetic' You 
see I am known everywhere. ..." 

And what of J. Warren Kerrigan. Does he regret the 
passing of fame? Gray is creeping into his black hair. 
There is still the handsome aquiline nose, the flashing 
eyes. It has been three years since his last picture "The 
Blood Ship." Sixteen years in pictures. He pats Lady, 
the terrier, as he considers. Three tiny pups play at his 
feet. A passing oil-truck driver waves a greeting. Ker- 
rigan still lives in the broad-verandahed bungalow that 
served him in the glowing days. 

Kerrigan Isn't Sorry 

"I don't miss it, really. I've had my day." No girth 

* on Kerrigan. His body is slim and young. "I've 

got my garden to look after and my dogs. Some property 

investments, too, my radio and books at night. A good 

housekeeper. She's been with me six years. I've been 

at it a long time. Started working when I was thirteen. 

"And the fans, they don't all forget. I was out in the 

rose arbor the other morning, dirty, in working clothes, 

{Continued on page 84) 



At the top, Wil- 
liam Garwood; 
then Ruth Stone- 
house and Flor- 
ence Turner 





4 



J» 



Without ever miss- 
ing a beat, Dolores 
Costello has stepped 
out of the run of his- 
torical roles that 
have fallen to her, 
and into one hkely 
to prove historic : 
that of the leading 
part in "Noah's 
Ark." Regard Do- 
lores herewith. Oh, 
flood, where is thy 
sting? 




/ yonscience Doth 




Make itowards 



At Last It Has Converted One — 
William K. — from High-Pressure 
Salesman Into White-Haired Boy 

By Herbert J. Cruikshank 



THE belles of St. Mary's would have made far more 
fuss over William K. Howard had they known that 
one day he might have put their daughters into pic- 
tures. But they didn't even suspect. St. Mary's is the 
name of a town near Lima. Not Lima, Peru, but Lima in 
that state which is round at both ends and "hi" in the 
middle. William's old man was in the oil racket. Never 
did have much luck at it. But kept drilling along while 
Ma kept the horhe together. Little Bill was born back 
in the early nineties. At the time no one thought 
much of it. A few of the neighbors dropped in 
to accord Mrs. Howard the congratulations 
called for by the occasion. But later on, when 
they resumed the buggy-ride, they had to 
laugh that any mother could be so enthusi- 
astic over such a red-faced, black-haired, 
funny looking little mite. He did have 
nice eyes, though. They admitted that. 

Years before, that no-account Jim Tully 
had been born in the same town. And 
had drifted away. Never would 
amount to much, so they said down 
at the drug store. And they said the 
same thing when youthful Bill How- 
ard turned his back on the local hay and 
grain emporium, and fixed those eyes of his 
eastward on the big city. Shoulders were 
shrugged. "Rolling stones gather no moss." 
A lot later, Jim and Bill met amid the plenty 
which Hollywood fame and Hollywood fortune had be- 
stowed upon them. But that is a couple of other stories. 
Bill floundered around a bit the way a young feller wil'. 
And when he finally got set, he found himself on the pay- 
roll of a motion picture company. As a film salesman. 
He was a good film salesman, too. To' this day he admits 
it. There was just one fly in the ointment. Bill de- 
veloped a conscience — or maybe it was inherited from 
liis mother. He began to feel sorry for the exhibitors 
who bought the pictures he had for sale. They were 
pretty bad pictures. Bill felt sure he could do better 
iiimself. So he got to pondering things over in his mind. 
As a result, he kicked away his good, steady, lucrative job 
and took up directing. It began to look as if the cracker 
barrel censors back in St. Mary's were right. Next thing, 
that Howard boy'd be • a movie actor. But this dire 




prediction wasn't realized. Be- 
cause, strange to say, Bill liked 
his new line — and made good 
at it. 

Reams of Film, Dreams of Stew 

HThen came one of those times when the bottom falls 
•*■ right out of the production end of the business. Bill 
had no job and couldn't get one. He could have gone to 
work again peddling pictures, but he was unwilling to 
take a backward step. He tightened his belt and kept his 
resolve. With one exception he has never deviated 
from it. 

The interlude occurred when he scurried from coast to 
coast with a few cans of film under his arm at the behest 
of a group of young hopefuls who had made some novel- 
ties aptly called "Hysterical History." When the pic- 
tures were finished, the youthful producers didn't know 
just what to do with them. They couldn't be eaten — yet 
{Continued on page 72) 

21 



^^:^. 



^>^->^ 




A glance at — much less from — Dolores del 
Rio, and surrender is inevitable. As for 
her pose above — isn't it pardonable, when 
hands have such beauty as hers, that it 
should go to her head? 



22 




etty 

iB boms Again 

i^rom the Limbo of Retirement 
md the Quickies, Miss Compson 
emerges to Regain Her Stardom 



By Nancy Pryor 



IT isn't given to many of us to repeat on our 
experiences as wiser and better men. "If I 
had it to do over again" is as sad a refrain 
iis "It might have been." Certainly, few picture 
stars are given the opportunity to blossom again 
the second time as glamourously as the first — 
plus the experience of their mistakes and mis- 
judgments. Prize-fight managers can tell you 
that 'they don't come back.' So could movie 
producers. 

But, then, there's Betty Compson ! 

Five years ago Betty was as brilliant 
a star as the screen had to offer. Her 
twisted smile was as famous as Gar- 
bo's slinky walk. Her crook operas 
were box-office bonfires. Her love 
scenes were nifties. Then she mar- 
ried James Cruze. Paramount did 
not renew her starring option. The 
upshot of that was Betty's "retire- 
ment." 

It was different from most retire- 
ments in that Betty really did want to 
<]uit the screen. She had worked 
long and hard and she had saved her 
money. She owned valuable proper- 
ties in Hollywood and her savings ac- 
.count, independent of her successfu 
marriage, would have kept her from any 
'inancial worry for the rest of her life, 
didn't care about spotlights any longer. She 
wasn't interested. And so her name finally 
dwindled down into a complacent Mrs. James Cruze. She 
admits herself that she put on several pounds of super- 
fluous weight, and when a movie star stops bothering 
about her calories, you just know it's all over! 

The Call of "The Big City" 

'T'h.at might have been all there was to this story; there 
*■ might not have been any more, if M. G. M. and Lon 
<lianey hadn't wanted Betty so much for the girl crook 
11 "The Big City" that they begged her to do it with 
uch an attractive offer that she couldn't very well turn 
t down. And it wasn't only the money involved. Betty 
had made her first hit opposite Lon Chaney in "The 
Miracle Man," and they were old co-starring pals. Be- 
sides, Betty told me one day when she was looking par- 
ticularly elegant in a soft-colored orchid hat, if you've 
nee been in front of the kleigs you just can't resist 'em. 




Spurr Photos 

There's something about that old davil 
spotlight that even rich, retired ladies 
can't ignore. 
She's lost all sorts of weight and looks 
slender and interesting as Sue Carol and 
loan Crawford and all these other new babies 
lave sprung up to make it difficult for the 
senior sorority. She's got a new enthusiasm that 
equals Janet Gayno'r's. And not to be outdone by any 
of them, she's got a couple of new contracts that would 
make any Baby Star blush with envy. By the time this 
reaches print she will be working on George Fitzmaurice's 
"The Barker" — and what a part this picture will afford 
her. In the meantime she is bridging the time with a 
"quickie" production being made on Poverty Row. 

"Oh, I learned a lot of things since I've been away 
from the screen and had a chance to think it over," she 
admitted between puffs of a becoming cigarette. "There 
was a time when I would have spurned a 'quickie.' But 
my managers have told me, and I agree with them, that it 
is better to be working all of the time than just occasion- 
ally in the good things that come along. I think that is 
wise advice, but 1 won't do just anything that comes along 
merely because it is an engagement and carries a big 
salary. 

' {Continued on page 77) 

23 







1 



Ring Around the Rosie 

The Jolly Movie Folk Sometimes Play Bean-hag, Too 



The Most 

Misunderstood 

Girl in Hollywood 



Because She Wouldn't 

Cross Streets in a Nightie 

They Called Olive Borden High-Hat 

I By Hal K. Wells 



I AM growing most thoroughly tired of hearing abo 
that very temperamental and Ritzy little actress 
Olive Borden — Because no such person exists, 
ever did. 

There is the real Olive Borden, the 
strikingly beautiful kid from Virginia to 
whom I gave her first picture magazine 
interview some three years ago, and 
whom I have known rather well ever 
since. 

But the volcanic and impossible Miss 
Borden who made life a misery for her 
film associates and "high-hatted" the 
press and the magazine world alike? 
Bunk ! 

When Olive first sprang from comparative ob- 
scurity to the lofty heights of Fox stardom, the 
powers that be formulated two policies for her 
future career: First, to present "clothes horse" se- 
quences in all her pictures to show the perfect 
Borden figure to the greatest possible advantage : 
second, to create of the new star a colorful, exotic 
personality that would be a sort of combination of 
Gloria Swanson, Alia Xazimova, and the Duchess 
of York. 

The first policy was carried out with grim thor- 
oughness. Never for more than two reels of any 
story was Olive allowed to remain more than half- 
dressed. Then would come the lingerie sequence, 
the leopard-skin sequence, the bathtub sec].uence, or 
any one of the other countless screen ^devices for 
presenting the feminine form divine. 

Olive despised such scenes. She loathes them yet. 
.■^he did them in a game eflFort to make good in her new 
status as a star. 

She tried to make good on the second production policy 
assigned her also, but it wasn't long before she balked 
cold on that one. 

It provided, in brief, that Olive was in real life to be- 
icome an exotic personage who would be "good publicity." 
She was instructed to be aloof and coldly impersonal on 
the set. The reputation of being temperamental was to 
be given her. She was called into the office of one of the 
executives one day and told that it was no longer "in 
character" for her even to speak to such menials as 
electricians, stage hands, and prop boys. 

This creation of colorful "personages" out of very 
thin air is a stunt that has been done dozens of times 
in screen history. One of its first famous examples was 




But 



when Theodosia Goodman of 
Cincinnati. Ohio. became 
Theda Bara of Egypt and 
points south, a mystic vam- 
pire creation living in an at- 
mosphere of black velvet 
drapes, lap cobras, and writh- 
ing spirals of most atrocious 
incense. 

Olive tried half-heartedly 

to do the Duchess act for a 

few days, then refused point- 

— blank to continue snubbing 

'^""^*- her friends among the studio's 

humbler workers. That is one serious flaw in Olive's- 

character for any peace of mind in Hollywood, where 

"yessing" the powers that be has become one of the fine 

arts. Olive couldn't "yes" C. B. De Mille himself, unless 

she happened to mean "yes" at the time. 

In spite of her refusal to play the part, however, the 
reputation for being temperamental and Ritzy has been 
slowly built up around her until today it represents a 
serious menace to both her happiness and her career. 

Olive has one fatal personal characteristic that has 
helped build this web of false impressions, and that is 
her extreme shyness among strangers. It may be hard 
to believe that the brilliant and flashing Olive Borden of 
the screen is in real life very frankly scared stiff in the 
presence of a crowd of strangers, but it happens to be 
the truth. 

And, being frightened half out of her wits when forced 
{Continued on page 71) 



26 




Polo 



Kichcf 



What with the hazards he 
takes for fun in playing 
polo and those he takes for 
the films in playing the 
hero, Jack Holt is usually 
to be found either on horse- 
back or on crutches 



IS Mr. Holt there?" 
"Mr. Holt is playing polo. 
"Where can 1 reach him? 



We want a story on him." 
He's at Midwick playing 



"But you can't reach him. 
polo." 

"When will he arrange to have some photographs taken 
for us ?" 

"I can't say. When Mr. Holt is playing polo ..." 

I hung up the receiver wearily, wondering if there ever 
:> or was a time when polo did not occupy every moment 
of Jack Holt's time. 

For several years I've had a speaking acquaintance with 
this actor. That is. we've progressed to the "Nice weather, 
isn't It?" stage. Mr. Holt's next remark is, invariably, 
"Excuse me, I'm just off to play polo." 

Pinned down to an interview, Mr. Holt lets all the bar- 
riers down, tells you all about himself, his likes and dis- 
likes. I mean, he does to this extent. He'll give you a 
firm, tight-lipped smile and say, "I like to play polo." 

1 wonder what polo has cost Jack Holt. In popularity, 

26 



And Between Chukkers, 
Jack Holt Does a Little 
Motion Picture Starring 

By Helen Carlisle 



in prestige. Two years ago he 
was a star on the Famous 
Players-Lasky program, which 
means that his pictures played 
the best houses all over the 
country. Now — how many of you 
have almost forgotten Jack Holt ? 

Following his break with Famous, 
he entered the free-lance field, work- 
ing often for companies so obscure 
that no one in Hollywood knew he 
was working. And when Holly- 
wood forgets, or loses interest in an 
actor, the motion picture public 
quickly follows suit. 

Starring a Side Issue 

|\/Ir. Holt tells me that his split 
^^^^^^^^^^^ iVl ^jjj^ Famous was caused by a 
—————— ^ disagreement over stories. I think 

there may have been a disagreement 
over polo, too. Holt never tried to serve two masters. He 
served polo, and worked as an actor on the side. 

Yet he was a good drawing card on the Famous pro- 
gram. He made a hit in the Zane Grey Westerns, and on 
his departure from the studio, no actor was found who 
could take his place. Gary Cooper, the first selection, 
couldn't drag folks in off the sidewalk, and so was groomed 
as a leading man in dramatic pictures. Lane Chandler 
was the second try. A tremendous pubficity campaign 
was launched for him, but it was a flop. Nobody got ex- 
cited over either of Jack Holt's successors. H the fans 
couldn't have Holt as a W^estern star, all right. But they 
wouldn't accept a substitute. 

So, with the passing of time, the handsome Mr. Holt is 
again back with Famous, signed to star in four more Zane 
Grey Westerns. If he comes back to the popularity which 
once was his, he may remain on the program indefinitely. 
But only time will tell whether he can come back, never 
what he has lost by his two years among the "independents." 
{Continued on page 75) 




Old. Llvar 



Ruth Is Stranger Than Fiction 

Romantic as are the parts which Miss Taylor portrays on the screen, and colorful as are her 
costumes, none is quite so striking as herself in the little house-dress she dons on the maid's 
night oflF. Observe our Ruth all set to extend a Mexican welcome to the over-curious and 

under-cautious 



27 



m 




the 



^ jX/ysterious^ 

Charley Never Existed Bui 



More Heartaches and Laughs 



Above is Scoop Conlon, inventor 
of Charley Fuhr; and adjoining his 
picture are Constance Talmadge and 
William S. Hart, two invariably favored 
guests of that international and elusive man- 
about-town. 



"y'^HARLEY FUHR, bon-vivant and famous 
i big-game hunter, zvill entertain a select com- 
^^ pony of screen stars Friday evening, amo^ig 
them the Misses Constance and Natalie Talmadge. 
Mr. Fuhr is rapidly becoming noted as one of Holly- 
wood's most delightful hosts." ' " r^ 

A sprightly little notice like this in the society 
columns of the Los Angeles morning papers, date 
1916, was enough to set famous teeth to grinding, 
and to fill famous eyes with tears of vexation. All 
you heard about in Hollywood nowadays was 
Charley Fuhr this and Charley Fuhr that ! If he 
wasn't being quoted on politics or the proper wine 
to serve with mallard duck or European royalties 
he had known, he was giving a party to which they 
were not invited. He got more publicity than any 
Tnovie star ! Ever since he arrived in Hollywood 
people talked about no one else, but he was so ex- 
clusive that only a fortunate few had met him, and 
these few were simply insufferable about it. 

"What, don't know Charley Fuhr?" Raymond 
Griffith would say patronizingly. "You ought to 
meet him! Great chap, Charley. Been around the 
world half a dozen times, knows everybody — every- 
body who is anybody. And what dinners he gives !" 
Or Connie Talmadge would confide to curious girl 
friends that* Charley Fuhr was simply one of the 
dandiest men she'd ever met, just a peach! And 
funny— you'd die laughing at him. And of course 
he was so rich he didn't care what he spent on a 
girl ! SheVl love to introduce them, but Charley was 
queer that way. Sometimes she thought that Char- 
ley was just a little bit of a snob. 

The movie colony writhed. The most prominent 
28 




Evans 



stars grew humble. "Who'i 
this fellow Fuhr I hear sc 
much about?" Wally Reic 
would ask Scoop Conlon, dra- 
matic editor 6i the Times 
and Scoop would answei 
"Funny you never met hin- 
in New York. Greatest wii 
on Broadway they tell me 
Decorated by the — ^the — ah— 
Smithsonian Institute foi 
shooting the — ah — ^the onl) 
specimen of tusked wallab) 
ever brought out of Africa.' 
"Say, I'd like to meet thi 
bird, Fuhr, you fellows are al 
ways talking about," Lev 
Cody would urge to a grou] 
gathered around the Hote 
Alexandria bar (remembe 
the date, 1916!), and Bil 






Harti 
utesa 



rooms 



for at 



(One 



Mr. Fuhr 

I lie Caused Hollywood 
rhan Any Real Man Ever Has 
Jy Dorothy Donnell 



By GALE, 



H«i- Ctootty 



P-O-OOm; Is rr 5 JicinT) 
Ip T«No«i«? M«wB« wro i 

BlTT«»N»T«OOUTl«<TI.t .,( 





fart would say, "Too bad you were not here five min- 
ites ago, Lew. Charley just left. He was telling us 

alK)ut the time he was captured by a cannibal tribe of 

pigmies' — " 

Call for Mr. Fuhr 

If anyone went to Vernon for dinner, conversation had 
to be suspended while the buttons went through the 
r(K>ms calling "Mr. Charles Fuhr! Paging Mr. Fuhr!" 
At a big film night at the Sunset Inn the head waiter was 
almost sure to ring for silence and ask "Is Mr. Charles 
Fuhr in the room? He's wanted on the 'phone." 

For two years Charles Fuhr was one of the most 
famous characters in Hollywood. He would disappear 
for a time, then the morning's paper would bear the flam- 
ing headlines, "Wanderer Returns! Genial First-Nightcr 
Hack in Land of the Living. Charley Fuhr who has been 
in Ne7i' York, guiding the destinies of his suter Bessie, 
a concert pianist, returned to town today. Among those 



Tom Geraghty, scenario writer, had this picture taken to prove 

he could read. He wag a member of the famous Round Table 

group, whose gathering in honor of Mr. Fuhr is here depicted 

in a newspaper cartoon 



gathered at the Old Heidelberg table at the Hoffman 
cafe, glad to 'welcome him back, zvere William S. Hart, 
his sister, Mary Ellen, Buster Keaton, Tom Geraghty, 
Natalie Talmadge, Scoop Conlon, Johnnie Grey, Ben- 
nie Ziedman, Hal Coolcy, Mitchell Leivis, Pat Dowl- 
ing." 

"Recuperating Nicely.'' another headhne would re- 
assure an an.xious world. "Popular Bon-l-'izfant Ex- 
pects to be Among Friends This Week End." Charley 
Fuhr, the story would go on to explain, had been 
suffering from a slight attack of epigastralgia, but he 
was expected to recover in time to entertain a few 
fi*iends at his new home, "The Xest," among them 
Fddie Sutherland, George Procter, Frank Borzage, 
Hull Montana, Walter McNamara and Kenneth Mc- 
Gaflfey. 

Or perhaps it was an argument over the spelling of 
the name "Fuhr" that the newspajiers chronicled, one 
authority tracing the surname back to the Norman 
"Feor," another claiming it was the Germanic "Fuer," 
while Charley himself upheld its origin as pure Celtic and 
derived from Patric O'Fuhr, one of the early kings of 
Ireland. 

Though few of the lovely ladies of the screen had 
actually made the acquaintance of the mysterious bon- 
vivant, many of them had received evidence of his 
admiration for feminine beauty. It often happened that 
when .some young man had invited a picture girl to dine 
with him at a restaurant patronized by the movie colony, 
the waiter would set a bottle of champagne down on their 
table with a flourish and announce "For the lady — with 
the compliments of Mr. Charley Fuhr!" 

Hut when her empurpled escort, choking with rage, 
sought out the gallant Mr. Fuhr with the expressed in- 
tention of punching him in the eye, it was always to l)e 
told that he had just that moment left. 
{Continued on page 70) 

29 




and 



PLAYWRIGHTS may come and go, but 
Willard Mack writes on forever. Just 
at the waning of the theatrical season, 
when other dramatists appear to be run- 
ning as dry as an Arizona river bed, the 
flood of Mack's histrionic fluency gushes 
on unabated. 

I firmly believe that every time Mack 
sees a theater go dark on Broadway, he 
writes a play for 
it. So obvious is 
his love for the 
stage that I think 
he would sit up 
all night for a 
week in order to 
dash off a few 
thousand bright 
lines just to keep 
a playhouse open. 
And his ability to 
dash is unques- 
t i o n a b 1 e. No 
other writer for 
the mimes and 
mummers ap- 
pears to have a 
fountain of in- 
spiration — or a 
fountain pen — 
with such an in- 
cessant flow. 

So his new 
Canadian melo- 
d r a ma "The 
Scarlet Fox," 
came along at a 
period when 
there were more 
enough blank houses on 
Broadway, as a result of 
the early spring thaw, 



Aprda 



than 



Directly above: A scene from "Bottled," at the Booth Theater; 

next, Mae West in the title role of Diamond Lil; and at the 

top, Ernchi Cossart, Dudley Digges and Alfred Lunt in the 

Theatre Guild's "Volpone" 



Share the 



By Frank Vreeland 



among the standing attractions. Jt appeared 
just when inveterate theatergoers had run 
into a welter of plays that strewed their 
wrecks along the main thoroughfare, and 
when something refreshing was needed to 
stimulate jaded Broadway — I had almost 
written Boredway. 

Resurrecting the Sarge 

HThus "The Scarlet Fox" arrived like a 
•*■ heartening wind from the North, or 
rather from the Northwest Mounted Police. 
And what a wind — especially in the person 
of Sergeant Michael Devlin of the Mounted ! 
He is as full of blarney as one of the char- 
acters in the play is full of hop. The play is 
new, but Sergeant Michael has seen service 
before. You remember the Sarge. It was 
he who made Lenore Ulric to blossom as 
the "Tiger Rose." 

Various friends urged Mack to resurrect 
his best-loved character, so he not only wrote 

the Sarge back 
into his red coat 
and black pants 
again, but he up 
and acted the 
part himself with 
his trusty six- 
shooter. In the 
interval Miss 
Ulric has gone 
variously Chi- 
nese, French and 
Harlem. Mack 
has remained 
staunchly North- 
west Mounted 
under the skin. 
He swaggers 
through the role 
of this confident, 
clear-h ea d ed, 
boastful, capable, 
romantic, cynical 
stalwart quite as 
if Mack would 
rather be Mike 
than Belasco and 
Shakespeare com- 
bined. 
This time he sends the 
Sarge after the murderer 
of a mine boss in a mining 
town, mixing him up in 



30 




USIC 



'Summer Stage 



he machinations of a drug ring, and proving 
hat a purveyor of such genteel doodads as 
laberdashery can own a scoundrelly black 
leart. This time Mack reverses the cur- 
ent procedure and implicates the real 
riminal pretty clearly from the start, in- 
.tead of leaving him in the dark until he 
umps out at the final curtain and says 
'Boo !'' Whatever lack of surprise lies 
n that method is more than compensated 
)y the picturesque developments of 
he melodrama, one act of which passes 
n a primrose house not usually men- 
uoned before the children. 

The Temple of Temptation 

HThis episode, 
■*^ with the po- 
lice actually 
dawdling acqui- " 

escently about 
the premises, 

avoids offense for the reason that Mack takes his ten- 
derloin light-heartedly rather than fiercely. Does 
Sergeant Dcdin seek the murderer in this fleshly 
temple solely in order to preserve law and order? 
Well, when did any fictional redcoated cop ever act 
on stage or screen from motives of law and order? 
He does it because Katherine Wilson is in the cast, 
being a sweet young ingenue, with 
Clark Marshall portraying very 
skilfully her brother, the young 
man who is suspected of the mur 
der between sniffs of the 
stuff. As a movie- 
smitten servant girl, 
.Alice Moe gives one of 
the best eccentric com- 
edy impersonations in 
years, ranking her with 
May Yokes, and Mack, 
besides his own dashing 
performance, has ably 
directed Marie Cham- 
bers. Bessie Banyard, 
Joseph Sweeney and the 
rest to such a degree 
that in the last act they 
make even a laundry 
look thrilling. At the 



From ihe bottom up: Janie« Gleason 
•nd \\i* wife in "The Shannons of 
Broadway"; Irene Delroy in "Here's 
Howe." and Willard Mark, and Kath- 
erine Wilson in "The Srariet Fox" 




Vandamm 



^ 



opening performance Mack said that if this play 
didn't go he'd turn to and write another, but it 
doesn't appear that he'd have to fulfil his tlireat 
for some time. 

"Volpone," the latest production by the The- 

/atre Guild, resembles "The Scarlet Fox," in that 
it seeks merely to give entertainment, rather than 
to dissect life and brood over it. Perhaps the 
Guild directors felt impelled to revive this four- 
hundred-year-old classic by Ben Jonson because 
in such earlier offerings this season as "Strange 
Interlude" and "Marco Millions" they had done 
Lucas Kanariin Considerable brooding. 



Jazzing Ben Jonson 




O 



White 



|THERWiSE, this gay 
interlude might 
seem to hold only an 
antiquarian interest, es- 
pecially since the comedy 
in its original straggling 
state took almost as long 
as Eugene O'Neill's 
sprawling play to pass a 
given point. Yet it is 
J I rather diverting to see 
I / how immemorial are 
I / human impulses, par- 
' / ticularly when brushed 
up with current spright- 
liness by Director Philip 
Moeller, and when Al- 
fred Lunt turns the dia- 
logue into modem slang with his 
modern twang. The same mo- 
tives of greed, vanity and lechery 
{Continued on page 83) 



81 




3 Times a Third 
of 3 Sisters 



A trio of glimpses of Polly Ann Young, who, 
together with her sisters, Loretta Young and Sally 
Blane, is rising — confirm this by a glance at the 
pictures — head and shoulders above many aspir- 
ants for genuine screen prominence 




urnau or 



ever 




An Intrepid Interviewer Trails the 

Red'Headed German Director to 

His Lair 

By Herbert Cruikshank 



" A ND don't forget the motto of the corps," concluded 
Z\ Larry Reid, leader of our brave little band. 
"Now go — and get your man!" The colors of 
dear old Czecho-Slovakia were unfurled. A band of 
boy scouts, led by one who resembled Conrad Nagel, 
played that stirring anthem. "When the Red. Red Robins 
Come Bobbin' Out of Sid Grauman's Hair," with a pat- 
ter chorus, "I Wanta Be There — I Wanta Be There," by 
Roxy's ushers, dressed as brigands from Fifth Avenue 
"Childs'." It was all very inspiring. 

I kissed the little women good-bye (all except the 
blonde, who will eat Italian forget-me-nots) and, guided 
by the trusty "Rum-Tum-Tum," took the trail toward 
Hollywood. 

My quarry, as we say in the R. N. W. M. P., was 
F. W. Murnau, German genius of the cinema, director 
of the immortal "Sunrise," and the toughest egg on the 
Fox lot when it comes to interviews. 

On the, evening of the fourth day, just as the Movie 
Mecca was settling down to serious nocturnal drinking, 
I arrived at the iron portals. 

A Hard-to-Get Gateman 

LWAVs the most supercilious snob 
on the set is the gateman. The 
guardian of this den of Fox's 
was no exception. My in- 
quiries for Herr Murnau 
brought that semi-lucid ex- 
pression indicating, "Ah, 
yes, of course, the name 
sounds familiar." And 
who or whom, as 
the case may be. 
might I be, a pre- 
sumptuous stranger 
at the gates? 

Did Mr. Crank- 
shaft have an ap- 
pointment? 
No ? The nio- 
ni e n t a r y 
smile van- 
ished. Per- 
haps Mr. 





Cockshine would visit the office, or would Mr. Crink- 
shaw call another time. Really, Mr. Crushang. Murnau 
was not available. Here was a dilemma. Wot-to-do ! 
Wot-to-do ! 

But as I, pondered, came the sound of horses' hooves. 
And a moment later Lois Moran threw herself from a 
foam-flecked Ford with a breathless "Whoa, Emma," 
and passed through the barrier. Naturally a quick 
thinker, I followed swiftly behind her while the Cerberus 
of the studio was bent double in obeisance. 
{To be. Continued) 

PART TWO 

Synopsis: Alleged scribe has been told to write im- 
pressions of Murnau and hasn't yet done so. Now 
read on. 

Stuitibling through a night dark as Dolores del Rio's 
eyes, the Hollywood heat suddenly departed and I found 
myself ankle-deep in snow. But this was neither one 
kind of "snow" nor the other. A single sniff convinced 
me it was really salt. Imagine my embarrassment ! 
Rubbing my eyes to penetrate the half light, I saw Paris 
on a winter's night. To be exact, I was standing before 
{Continued on page 80) 



33 




Eustace Blatch. sculptor and handy- 
man, has suggested a series of coins to 
commemorate for future generations 
the names and faces of the few cellu- 
loid celebrities who really can act, re- 
gardless of whether screen directors 
permit them to. 

His first subject comprises Louis Wol- 
heim and John Barrymore, both re- 
cruits from the legitimate stage. 

The reverse side reveals simply the in- 
scription i\i7 nisi bunkum, which means 
Our Men Know Their Jobs. 




lah-Relief 



u 



:: 



rec( 
De 

Da 



SECRET HISTORY OF THE MONTH 



What We Hear From the Hollywood Press Agents 




Domestic footnote from United Artists studio: 

"VW'hen she isn't 
cooking or mend- 
ing in her sunny Cali- 
fornia bungalow, 
Camilla Horn likes to 
curl up in a big chair 
and read." 

Hereditary genius as dis- 
played at Universal City: 

"The veil of secrecy that has surrounded details con- 
cerning the new type of motion picture perambulator in- 
vented by Carl Laemmle, Jr., has been lifted. The new 
perambulator is similar to a three-wheeled bicycle. A per- 
son sitting in the bicycle seat propels it by means of foot 
pedals that transfer the power to the rear wheels through 
a shaft. Airplane tires prevent vibration." 

Hollywood's great 
work of converting 
the world to the 
gospel of sex ap- 
peal proceeds to 
the realm of sci- 
ence at United 
Artists studio: 

"Love scenes 
between amcebas will form the novel introduction to D. 
W. Griffith's new film, 'The Battle of the Sexes.' They 
are to be employed in an allegorical sense, illustrating the 
fact that love exists in even the lowest forms of animal 
life." 




ikjT\^ 






What is Wrong in this Picture? 

"Tiny Vera Reynolds is a 'bookworm.' She likes 
ing better than the privacy of her own back yard 
she may peruse her favorite books during her leisure 
When asked the kind of books she preferred, 
Miss Reynolds replied: 'I do not like suf)er 
sex stories or those of a morbid nature, al- 
though an occasional ghost story gives me a 
thrill.' " (From the persistent Nancy Smith, 
private press agent.) 

"Only middle-aged ladies do the Cleopatra 
act in flowing tea-gowns beneath rose-shacFe 
lamps. This business of not being a hot- 
house plant is the stuff that wins. The girl 
who can go hiking with a man in the right 
sort of shoes, go fishing with him and put 
her own bait on her hook, and go skating 
with him without getting tired — that's 
the kid who is his real pal." (Item 
received a few days later from the 
De Mille Pictures Corjwration under 
the heading "Men Like the Out-of- 
Door Girl," by Vera Reynolds.) 



noth- 
where 
hours. 




Illuminating sidelight on the unemployment problem among 
professional extras, from Fox studio: 

"Henry Lehrman is busy shooting 'Mister Romeo,' 
utilizing one of the finest theaters in Los Angeles as his 
background. The extras were supplied gratis, as Lehr- 
man was wily enough to have placed a one-sheet in front 
of the theater inviting folks in to see a real motion picture 
company in action." 

Daring fashion sally "" '^ 

from . United Artists 
studio, luider the 
name of the pious 
Norma Talmadge: 

"Trousers are 
unbeautiful, no 
matter what may 
be said of their 
greater convenience, and women, as a rule. wilKnot re- 
linquish their present aesthetic apparel for the mere 
sake of utility. It is worthy of note that well-dressed 
conservative women have left this bizarre innovation 
strictly alone, not because they shun the trouser as im- 
modest, but becau.se its adoption would rob them of their 
greatest possible quality — charm." 



Brilliant grasp of the meaning of words displayed in 
■ United Artists studio broadsheet: 

"Gilbert Roland's wavy locks have been 
sacrificed for the sake of art ! 

"Which means that Norma Talmadge's 
dashing leading man had to visit the 
barber before he started work in 'The 
Woman Disputed,' '/ 



Saving yet another day for Art at Metro- 
Coldwyn-Mayer (from a studio announcement): 

"Henrik Sartov was shooting a scene in 
Marion Davies' new picture when he 
heard a click. The magazine of his 
camera had sprung a leak, admitting light 
to the film. The cameraman took a wad 
{Continued on page 73) 



35 




Russell Ball 



Two Mules That Have No Kick 

Privileged as they are to accompany Phyllis Haver to this point in her retirement 

from the day's occupation. The ni — pardon us — the robe de nuit Miss Haver is 

wearing is of hlack chiffon and lace, as filmy as her profession 



36 



1 



from toast 




f« ./oast 



Such Has Been Joan Crawford's 

Career. She Began by Eating It 

and Ended by Being It 



M 



By Cedric Belfrage 



RS. LE SUEUR'S little girl, Lucile, pulled into Hol- 
lywood with the indigestion of Christmas, 1924, 
still ringing through her sturdy frame. 

The sandwich she ate for lunch was toasted. It was 
an omen. 

For what had she been told by one who had come like 
a fairy prince into her life? "Leave all this," he had 
whispered hoarsely, barely making himself heard above 
the tlieater traffic in Times Square ; "Come to Holly- 
wood, little dancer, and you will become the toast of our 
well-known Boulevard !" Little had he known that for 
once in his life he spoke the truth. 

And what was the life be was asking her to leave? 
The tinsel of the Follies, the feet that ached and the 
face that bravely smiled, the lure of wealth and the 
reprobates who laid it at her feet — at a price ! On 
with the motley, ring up the curtain, all the world a 
stage — but why continue? Lucile gave the whole 
works the air. 

A week later, eastern standard time, she was — 
among other things — happy, slightly sun- 
burned, reducing, cured of the indigestion, 
on a long contract with Metro-Goldwyn- 
Mayer — and Joan Crawford. Lucile 
le Sueur (look it up in the French 
dictionary if you want to know- 
why) had been peeled oflf her 
by the studio peojjle like an 
old, worn-out glove. "You, 
girl." they said to her, look- 
ing up from their inter- 
executive game of pinocle, 
"your name is Joan Craw- 
ford, and don't you for- 
get it." 

Thus the genesis of the 
Toast of Hollywood 
Boulevard. 

Fat But Filmable 

Cue recorded herself upon 
celluloid, or "made a 
test" as slie learned to call it 



The falter she got. the Klimmer her 

chance!*, Joan Crawford found. The 

pictures from the bottom up, show 

her three stages of reduction 




R. H. Louise 




-^i 



THE CRACK 

Funny thing this world! 

How its lip does curl — 

When it laughs at things you do, 

After it's taught those things to you. 

No wonder we laugh and cry 

And sometimes want to die. 

Why, we're so awfully full of moods 

We scarce know what to do. 

Some say it's the individual — 

Others that it's quite conventional. 

But hot or cold — 

The crack still goes — 

Funny thing this world! 

— Joan Crawford 



ill Hollywood's racy argot, on the fateful morn- 
ing of January 9, 1925. For this, her first ap- 
pearance in front of a movie camera, she put 
on a fussily modest and virginal frock which was 
her conception of what the screen he-man's ideal 
mate should wear. When they cranked the 
camera, she alternately smiled and frowned, much 
as though she were trying to make up her mind 
whether or not she l>elieved in fairies. They 
made her play a little scene with Creighton Hale, 
wlio happened to be around the lot with nothing 
to do. and she tried to conduct herself as she had 
seen the stars do on the screen. Looking at this 
odd scene today makes one wonder what the 
Metro-Goldwyn people saw in her as an actress. 
As for her beauty, it showed but faintly through 
the excessive avoirdupois she was then carrying 
around. Personally I would have sent the girl 
back to New York by the next train 
{Continued on page 78) 



37 







th 



e 



Harry Langdon's 

As Observed in the 

Session of Cripple 






c 



f 



AT top: "Just another one of those hands. 
- I guess." And then from left to right: 
"All right, if there was more of 'em." 
"What's this! Wait a minute." 
"Say. Wait. Lemme be sure." 
"Yep; they're there. Lady, lady!" 
"No fair lookin' now. You're not sup- 
posed 



A' 





c 



Is 



o 



ver 



J Poker Face 
Course of a Recent 
Creek Contract 



M. 



"!►! 



AND now from right to left: "I might 
open for ten." 
"Your fifty and fifty more." 
"Look 'em over, boy." 

"No. No. But Jees!" 

"The one time I had 'em, you had to 
have 'em." 

And at top : "Maybe if I tell the landlady 
I get paid by the month. . . ." 





Spurr Photos 



39 



ucker who 

Succeeded 

Believe It or Not, 
Tom Tyler Learned 
Movie Acting by Mail 




HIS kid sister shrilled, "Mama! Tom's doin' it 
again-. Mama! Tom's got his face all painted 
funny, an' he's talkin' to hisself." 

His mother said worriedly, "Tom, if you put any more 
of that nasty dirty stuff on your face. I'll tell your father 
and he will give you a licking. Sometimes I think' you're 
crazy, spending good money on such trash ! It's going to 
those awful nickelodeons that's done it." 

His father, heavy-handed superintendent of the iron 
ore mines on Lake Chamberlain, said grimly, "Not an- 
other word, d'you hear me? My son an actor! Fine 
business for a healthy man. You're going to learn to be 
an automobile mechanic and make a decent living." 

The letter from the correspondence school said, "Dear 
Sir : We are sending you the make-up kit. We feel sure 
you have great talent and would succeed on the screen. 
Kindly send the second instalment, $5, and the next 
lesson, 'Screen Technique,' will be mailed promptly. 

Yours truly. The Correspondence School of 

Screen Training." 

He was seventeen, tall, gangling. Evenings he would 
run himself ragged carrying heavy, cans of film from one 
movie house to another two miles away, but he barely 
moved in answer to a call for a bucket of coal for the 
kitchen stove. He was driving a truck and saving up his 
money. When he had enough for his fare to California, 
he was going out to become a movie hero, like Eddie 



Polo or Hobart Bosworth. But not like Bill Hart. He 
didn't like Westerns. He always walked out when the 
first shot of sagebrush flashed on the screen. P)esides, 
he was scared of horses. Always had been. 

Registering Ambition 

JV/Teanwhile he was learning how to be a movie actor, 
so's to be ready. The lessons covered everything: 
How to Make Up as an Old Man, How to Register the 
Different Emotions, Rage, Grief, Fear. How to Be a 
Comedian. How to Dress for Society Parts. Some of 
them were sort of hard to do alone, but it wasn't safe to 
ask the family to help. Better lock the door while you 
practised the lesson on "How to Make Love," and when 
you got the one on "Screen Fighting," where you had to 
choke yourself, it was wiser to do it in the barn where you 
could make plenty of noise without attracting attention. 
{Continued on page 76) 



40 





verlooking Her Position 



It is all very well for Audrey Ferris to ignore herself. Knowing that no one else 
will, she can easily afford to. And this may be said, too, regardless of these two 
pictures of her you examine: that Audrey is indubitably prone to succeed 



41 



J^educing Herself to /^ich 



By Dorothy Manners 

IF you've got a date with that 
great, big handsome, specialty 
number tonight, here's a little 
tip: 

Wear a white sport dress 
with a red collar and red cuffs 
and a red hat. Doris Dawson 
did. And how ! She wore it 
the day she went to see 
Harry Langdon about a bit 
in his new picture and before 
she left Harry had signed 
her for the leading role. 
She wore it the time First 
National sent for her for a 
test and before she left the 





Doris Dawson's Soul'Strugj 
Is Caused by 
Hunger for Bot 
Cake and a Care< 




>* 



(arsty 



lot she had been signed 
a contract with a leading ro 
with Richard Barthelmess 
"The Little Shepherd 
Kingdom Come," thro 
in for good measure. Y 
can imagine how she weai 
it ! It's her lucky col 
combination and Doris 
right here to tell you thai 
it's got it all over anything 
else for quick results. \ 

She ought to know. Doriil 
used to dress in dark brown* 
and blacks. That was whei^ 
she first came to Hollywood and 
she wasn't so happy. Like every- 
body else, except Sue Carol, Doris 
had a hard time getting started itij 
Hollywood. You wouldn't think it] 
to look at her. If you like the baby-i 
doll type, you'd swoon at Doris. Andi 
Hollywood does. But Hollywood 
didn't swoon right away. Doris almost 
starved to death before Hollywood got 
around to her cute little smile and her, 
long Pickford curls. j 

Her Power Over Speed Cops 

I THINK the right adjective for Doris 
is cuddlesome. If her hair were four 
shades lighter, she would have been 
perfect for "Gentlemen Prefer 
Blondes." She's got that same guile- 
less look, and even hard-boiled speed 
cops believe her when she tells them 
she didn't realize she was going forty 
miles an hour. When she smiles at 
them, they are convinced of it. She's 
got that helpless-little-woman-all-alone- 
in-the-world look, and only her inti- 
mates are in on the secret of how really 
capable she is. 

Believe it or not, she can cook and 
sew and make her own clothes and 
dye her own shoes and all sorts of 
things you wouldn't suspect to look at 
her. She'd make a great little wife for 
some young fellow just starting out in 
the world — if she wanted to. But she 
doesn't. She wants to be a movie star 
with a public — so there! 

{Continued on page 82) 



men 
miii 
Dyk 
eiiac 
lows 
Seal 
lite, 
lahi 
moi 
pla) 



42 



Raquel Torres and 
Monte Blue were two 
members of the cast 
under W. S. Van 
Dyke's direction to 
enact "White Shad- 
ows in the South 
Seas" on the original 
site, the island of 
Tahiti. Monte is the 
more celebrated 
player, but her he 
has chosen — and ra- 
tionally — to appear 
I in a supporting role 




J 



To provide a South Seas beauty fully up to expecta- 
tions, the wisest plan is to import one from Hollywood, 
Hence Raquel Torres — destined to make, when she 
appears on the screen, an even bigger splash than she's 
creating here 




43 




Kvans 



Oo you know her? She 8 as slender now as a husband's excuse. But in the 
old Keystone comedy days, sh^-well, the picture's right in froni of you. She 
plays heavy dramatic roles now. But it's a question whether you'd say that 
there s more to her at present than there used to be. Her name, incidentally, 

is Vera Reynolds 



44 




^^^^^^mera 




5 



CINEMA SHOTS FROM COAST TO 





Speaking of limbs, we find 
here specimens of two con- 
trasting varieties. And grant- 
ing even beauty to be no 
more than shin deep, Lina 
Basquette qualifies for it 
unquestionably 



In one of the seats of the 
mighty, little Alice White looks 
— well, mighty little. But while 
she may not fill this chair, she 
does fill the bill of all fans 
who like their beauty piquant 






*^ 



Taking dictation is 
not characteristic of 
Dolores del Rio. But 
Johnny Hines's smile 
has won her over to 
the idea. She is typ- 
ing for him a comedy 
sequence for his next 




'^Mi-'' - 



Do animals think? At any rate, dogs reflect. 

For here is Flash, the cinema canine, holding 

the mirror up to nature, and occasionally to 

Louise Lorraine 




46 



bOAST AND BACK TO COAST AQAIN 





Proving that elbow-bending 
and light-and-dark are not 
necessarily to be associated 
with barrooms: Colleen 
Moore and Diane Ellis hav- 
ing a talk of that kind 
"Heart to Heart" 



his ear: Marjorie 
Beebe's hat. And Marjorie 
apparently has no regard 
whatever for the universal 
warning to keep away 
from that horse's head 



The batting average of 
Ruth Taylor's popular- 
ity has been consist- 
ently above the .300 
mark. And the reason 
is not hard to discover. 
Just take a look at 
Ruth's equipment 





From property man to man of property 
is Eddie Nugent's story. He's just been 
relieved of the responsibilities of the 
first estate and now — because he's re- 
cently signed a contract as an actor — 
is entering upon those of the second 



^^t 




Bangs are coming in again — bigger and louder ones, 
obviously. Here are Anita Pam and Cecele Cameron 
preparing to be well in time for the recurrent mode 



Clyde Cook has always had the ability to provoke laughs 

without undue exertion. But he's seemingly not quite satisfied 

and has now begun really to extend himself 

47 




By Gladys Hall 

Drawings by ELDON KELLEY 



OH, ho, ho, ho, ho! Oh, ha, ha, ha Im! 
Come into the Big Tent, ladees and gennelmun ! 
Come into the Big Top of Hollywood and see the 
Strange Peepul ! The Lady wot twists her sweeties about 
her neck! The man with the Tattoed Skin, each adwen- 
ture of his life embossed on his own fair skin! Come 
in and see the Million Dollar producer of Mother Love 
stories as can't sign his own name to your check ! Come 
in and see the little baby as gennulmen approves of as can 
read Nietsche and has heard of a brain or wot have you ! 

Come on, come on, don't •stand back. Stranger sights 
to see than ever met the eye. Come in and see the guy 
wot thinks he's God an acts according. Come in and 
witness a Unknown Author tryin' to sell a story to a 
producer. See 'im writhe and twist. See 'im beat 'is 
brains out afore your very eyes. Watch 'im throw ink- 
wells and holler and shriek. 'Ear 'im cry : "It's the 
story of a 'uman 'eart, sir, it's the story of a 'uman 'eart!" 
Look closely and see wot 'appens ! See wot 'appens to the 
contortionist. A contract for fifty grand a week then 
and there ! 

Oh, c'm on in and see the Strangest Peepul in all the 
world, recruited from eve-ry walk of life, ladies and 
gents, from the wilds of Timbuctoo, from dim conven- 
tual walls, from wayside garages and lonely farms and 
the enviruns of Park Avenoo. C'm on in. On'y ten 
cents admisshion, on'y ten cents. 

Right This Way, No Delay. 



unny 



and wot have you. You don't have to follow the tonj 
mags as dissects the Strange Peepul. You don't have tc 
deegest lectures by the Visiting Writers, by evangelists 
by gents of the pulpit purple, by cynicks an' excetera. 

Ten cents and Hollywood will show its funny face, it; 
clown face, its motley under which beats, ladees am 
gents, a breakin' 'eart. 

Hollywood 'as its funny side, that's the answer. Don' 
take it too seriously. Hollywood is a baby, ladees, a 
should be taken to every mother heart and cuddled. It' 
the Greatest Show oh Earth, not barrin' Barnum; and ii 
it 'appen the funniest, the most side-splittin' things in al 
the world. It must be seen to be believed. It's funny 
that's all. It's nothing to get irate about, nasty about 
pro fond about. C'm on in and see! 

See the pallid lady with the diadem in her midnigh 
hair. See the string of boy-friends hangin' round he 
neck like lavalieres. Hear her purse her lips and say t 
another pallid lady as 'as a boy friend, too: "I can 
possibly dine with you ; it^s a matter of principle, yo 



see: 



Wai 



Right This Way, No Delay 



C 



oMF, into the Big Top of Hollywood! 

You'll see it for yourselves, folks . . . you c'n 
take home first hand impressions for the old folks and the 
little 'uns. You don't have to wear the brain cells out 
reading the bilge water of the Freudians, the complexes 

48 



Oh, hee, hee, hee! 

Come in and see the little "It" huckster. Red 'ai 
Wiggles an' all. She'll give you sample parcels of S. /i 
FREE. No obligation on your parts if it don't work ir 
stantaneous. Hear her tell how she was oncet a scrij 
clerk and how it has helped her rise because it has give |w 
her a lit'ry background. 

Oh, ho, ho ! 

C'm in and see the big yaphank f ronj. the Open Space 
You all know what he was oncet. Now he has a blonde, 
snappy car and some temperament. Cm in and see 
work. Watch him get jacked up for a Big Scene, for 
finger pressed into brow. Getting into the psychologic 
atmosphere. 



f 




b>^ 



N i '■ 



u 



n 



u 



ide 




Oh, See the Parasites! 
Oh, hee, hee ! 

Cm in an' see the Parasites. Complete collection of 

hat species doomed to certain extinction when the 

Movies puts on rompers. God knows where they come 

from and maybe God knows why. A race of beings that 

iiilcrawls upon its belly, that never stands erect, that 'as no 

feet properly speaking. 'Uman tapeworms, that's wot 

nithey is. A race that curries favors from the gods and 

a goddesses of Gelatin and in exchange spews pretty plati- 

t'l tudes ; a race that tells its benefactors they are always 

II right, always perfect, always more sinned against than 

i! sinning. Watch the strange effects of this rare race, 

ulees and gents. The objects of their adulations begin 

) agree with them. The egos begin to swell an' swell, 

iike balloons. Now watch the balloons break. Blow up. 

Watch the contracts blow up, too. And now, ladees, 

ifj watch the curious and movin' phenomena of the parasite 

( race creep and crawl away to suck anew in virgin fields. 

As pretty a sight, folks, as ever met the unsuspectin' eve. 

Oh, ho, ho! 

Step on to the Marriage Carousel of Hollywood. 
Watch 'em mount the first dolphin, blushin' and bridlin', 
blinkin' and blushin' for better or for worse. The 
musick starts, the carousel moves — we're off! Watch 
'em catch the gold ring, watch 'em step off again, watch 
'em jump again for another ride on another kinda animal, 
another gold ring, another, still another. Round and 
round and round. Cm on, ladees and gents, it's keepin' 
the mint in circulation for the gents of the pulpit purple. 
It's an ill wind. Come on, all, the Marriage Carousel is 
just about to start! 

See the Story-Butchers 



HI 



C'm on in and watch the Big Producers Work. The 
guys that press the buttons, that dish you up your 



Step Right Up! 

See the Wild Authors! 

See the Marriage Carousel! 

See Hollywood's Year-Round Show! 



favorites in all kinds of curries an' mustard. They yell 
for Bigger and Better Stories. Writers knock with ink- 
stained paws upon their conference-closed doors. Wot 
do they do? Why, they send for a man wot has made a 
name for himself manufacturin' sausage. That's fair, 
ain't it? He has made a name for hisself, 'asn't he? 
You've heard of his sausages, 'aven't you? Then why 
shouldn't you 'ear of his movies? No reason. Come 
right in and watch this phenomena take place afore your 
very eyes. Sausage-into-script, no sooner said than done. 
They'll strut their stuff while you wait. 

Step up an' feast yore eyes upon the Turble Trick 
Title-Writers. Animiles with the kinda minds as would 
think paralysis is funny. Gaze in amazement upon 'em as 
they strain their brains thinkin' up things guaranteed to 
keep you from enjoyin' the picture! 

Cm on in, step lively. Be in time for the Big Parade. 
The Grand March. Painted Ladies in Priceless Palan- 
quins. Look closely, gents, on'y last year these Jewelled 
Ones knew the pernickety Pinch o' Poverty. Watch the 
silhouetted Sheiks turn on their devastating detonators 
afore your very eyes while ferns drop by the wayside, 
hannilated. Watch the pack, the pack of lean-faced hex- 
tras, howlin' at the hubs, yelpin' like a pack of hounds 
for the throw of a bone. Watch the Big Guns turn 
thumbs down on a few hactresses who must admit to 
thoity summers or why-not. Watch the Hexalted Horder 
of Press Agents pull hadietives out of the hair and hang 
'em about like diments. Watch 'em, right afore your 
very eyes, take a sow's ear and manufacshure a silk 
poise. You'd a thought it couldn't be done, but you will 
see. All for one dime, ladees and gents, one little. lirtlf' 
dime. 

C'm into the Big Top ... 

Oh, hee, hee, hee, hee I Oh, ho, ho, ho, ho ! 

49 




For all that her beauty is 
essentially Hihernian, 
Pauline Starke can, upon 
occasion and upon the 
slightest provocation, be- 
come as Spanish as an 
omelette and twice as de- 
lectable. If those who 
refer to reality as stark 
would but spell it with' a 
final e, then we might well 
do away altcigether with 
illusions! 



Spurr riiotos 



CO 





of the 



arty 



Johnny Hines Serves 
Rubber Rolls at Dinner, 
Likes His Cars Fast 
And His Women Sober 

B> Carol Johnston 



HE'S the Life of the Party. 
You've heard enough about 
tragic comedians. Here's a movie 
clown who works at it after studio 
hours. A Harlequin who's on 4 per- 
petual holiday. Peter Pan, in long 
pants, with titles by G. Marion, Jr. Here's 
Johnny Hines, to whom life is just one great, 
big gag- His house on a California hill-top. 
outwardly sedate in the Spanish manner, on 
closer acquaintance turns out to be a bottomless bag of 
tricks, presided over by a de luxe edition of Peck's Bad 
Boy. 

in Hines's house there are "break-away" chairs, and 
couches with cushions which emit a plaintive and long- 
drawn-out "Mee-ow" when sat upon. There are correct 
and imposing appointments for dinner parties — costly lace 
table-cloths, gleaming silver, exquisite flowers; and — for- 
a laugh — rubber rolls. There are drinking goblets of 
clearest crystal, with imperceptible holes, causing water 
to trickle slowly down the immaculate shirt-fronts and 
bejeweled bosoms of distinguished guests. 

Taught Hearst the Black Bottom 

WHEN Hines comes in, formality flies out the window. 
If it doesn't, he kids it out or kicks it out. It was 
Johnny who, at a Hollywood party, volunteered to teach 
the dignified William Randolph Hearst to dance the 
Black Bottom — and did. 

This clown is also a sheik in disguise. Probably Billy 
Haines is Johnny Hines's only rival as a wow with the 
girls. Both boys are older versions of the lad who loved 
to trip up the prettiest girl in the class at school, causing 
her delightful embarrassment. How the prettiest girl 
loved it, too — and still does. Johnny has been reported 
engaged almost as often as Patsy Ruth Miller or Connie 
Talmadge. It was Constance, who has known him since 
the days when both were .still struggling for a foothold on 
the lens ladder, who declared he's the most amusing man 




she ever knew. He's usually seen at film first-nights with 
the latest and loveliest in screen ingenues. 

He loves speed. He wanted to be an auto racer when 
he was a kid. Fate set him on the stage instead. But his 
passion for speed is satisfied now that fame has intro- 
duced him to all the racers and he can drive their cars 
around the speedways in his spare time. He drives his 
own cars like no motor cop's business. He has had sev- 
eral narrow escapes from death but these have only 
whetted his appetite. His latest smash-up, which com- 
pletely demolished a brand-new car of costly make, 
amused him so much he insisted upon being photographed 
with the remains. 



N 



Never Spell It Johnnie 

OBODY has ever called him John except his two broth- 
The only time he has ever been even slightly 



ers. 



annoyed about anj-thing said or printed about him was 
when a well-meaning sob-sister spelled his front name 
"Johnnj'r." 

He prefers the patrician type of femininity, and one of 
his favorite diversions is escorting examples to wild-west 
rodeos, Chinatown, or Coney Island. He is very critical 
{Continued on page 85) 



61 



Laurence Reid 

Reviews 

the New Photoplays 





Follows then the unhappiness of Betsy as she returns to' 
Baltimore alone. But it is indicated that Jerome will join her, 
in spite of his powerful relative and the broad expanse of thej 
Atlantic. 

The picture is easy to spot in regard to its development and 
there isn't so much to it. But it provides a neat setting for 
Miss Costello. Which is perfectly Okay with me. She needs 
romances and not melodramas — and Glorious Betsy lives right 
up her street. 

Rather an Old Story Now 

HThe racial-religious question capitalized by Anne Nichols as 
'"Abie's Irish Rose," and which told its story of hearts and 

flowers and smiles and tears and hokum and dialect, reaches 

the screen a little late. 

Several Abies have taken their Rosies for better or for 

worse since young Mr. Levy defied his orthodox parent and 

married the girl friend. And so the big suspense is missing. 

Which goes to show that it's the old army game — this movie 

grab-bag business.' Let a stage hit become the property of a 
producer and it's a cinch that his rivals will beat him to 
the screen with imitations of the original. 

"Abie's Irish Rose" is well done and follows the 



THEY'VE given 
Dolores Costello 
in "Glorious 
Betsy" a picture 
which has much in 
common with her per- 
sonality, something 
which could not be said 
about "Tenderloin." It is 
sheer romance and if it 
hasn't much imagination, at 
least it has feeling and is han- 
dled with fine restraint. Alan 
Crosland, who directed, doesn't get 
out of key with its theme. Some of the 
boys might have gone unduly sentimental and' 
made it sticky, but this director has kept his 
balance. 

The setting is of an early nineteenth century 
pattern as it was found in Baltimore and en- 
virons. And against this background the Cos- 
tello lady makes a most personable figure. 

The romance builds around the efforts of 
Jerome Bonaparte to woo and win Xh/t woman 
of his choice without benefit of either plain or 
fancy meddling by his brother, the newly 
risen emperor of France, Napoleon himself. 
The picture ushers in a deal of pathos as 
Jerome takes the glorious one back to France 
only to lose her when the Emperor turns 
thumbs down on the romance. 



52 



play in its conflicts and contrasts, though certain 

bits have been added to give it more dynamite. 

Scenes of the late war are introduced as a 

prologue to the romance, and while they are 

saturated with feeling, still the war Ju'^ks 

like a side issue. 



At the top are Nils Aether and Leatrice- 
Joy, who earn/ on the romance for "Thel 
Blue Danube." At the left Dolores; 
Costello and Conrad Nagel express pathosi'l 
over their separation in "Glorious Betsy."' 
Below, Chester Conklin is doing as welly 
as can be expected in "The Big Noisew 





rltlc 



THIS MONTH 

Abie's Irish Rose Glorious Betsy 

Laugh, Clown, Laugh The Big Noise 

The Escape The Blue Danube 



That Overworked War!, 

IT is much too long and there is a deal of repetitious detail, as 
for instance, the scene where the quarrelsome parents boo 
one another over the Christmas toys they are about to present 
to the young grandchild or two. It has its moments of merri- 
ment, the comedy relief being well taken care of by Bernard 
Gorcey and Ida Kramer — and its atmosphere of the various 
weddings is capably registered. 

The characterization is exceptional as turned in by Jean 
Hersholt. As the elder Levy, he steals the picture. His por- 
trait is as good as anything that has graced the screen in a 
dog's age. Nancy Carroll is appearing as the heroine and 
demonstrates that she can be trusted with a good-sized role. 
' Charles -Rogers enacts Abie with a sensitive grasp of the 
j character, and the others are acceptable. 

Not Strong Enough for Chaney 

"T AUGH, Clown, Laugh" — even with Lon Chaney portray- 
^-'ing a different character and giving it all of his emotional 
feeling, fails to stir me to heights of enthusiasm. It 
has the simplest kind of a plot but never gets under 
the skin because its note of pathos gets out of key. 
Then too, the role of the young ward of the 
elderly clown is expressed with insufficient 
heart interest to warrant two men going into 
such tragic musings over her — with the 
central figure taking the exit a la supreme 
sacrifice. 



"1 




At the top, Virginia Valli determines to 
make a man out of George Meeker in 'The 
Escape" — and succeeds. At the right are 
Charles Rogers and Nancy Carroll as the 
perennial sweethearts of "Abie's Irish 
Rose." Below, Lon Chaney efTec s a ft !1 
different character in "Laugh, Clown, Laugh" 



The film misses 
fire because of the 
emphasis given the 
feminine interest, 
and Loretta Young, 
while appealing and 
wistful, seems to be 
too immature for the 
part. The story is ex- 
tremely old-fashioned and 
builds on the ancient premise 
that the clown must continue 
to make merry though his heart 
is broken. 
Chaney is the whole picture! but this 
is the weakest one he's had in a long time. 
The title is alluring and the star has his pub- 
lic. So it will probably attract audiences. But 
Chaney, like Jannings, needs the strongest kind 
of plots. Otherwise, he suffers along with the 
stories. 

Neat Number, Genuinely Human 

A HUMAN little story, treated to a dose of 
•^ satire and well-balanced wit, humor and 
pathos crops up in "The Big Noise," which 
projects the humble figure of a subway guard. 
He is carried to the heights through a political 
issue, the candidate running for the mayoralty 
( Coil tinned on page 88) 



68 




Bulloch 

Hollywood has transformed 
Camilla Horn from a de- 
mure fraulein into a girl as 
colorful as a booster's de- 
scription of Los Angeles. 
Here she is, looking like a 
Camillion bucks 



Uang yourself on a hickor> 
limb, but don't go near the 
water. This appears to be 
the advice that Camilla 
Horn has given herself. 
Have a care, Camilla. Mack 
Sennett'll get yoa if you 
don't watch out 



C/amilla the {chameleon 



54 



■■M 




till Qoi 



oing 




trong 



Johnnie Walker Has a Fine 
Future Behind Him — 
and a Finer One Ahead 

By Walter Ramsey 



YOU'VE read many stories and in- 
terviews of the young man just on 
the threshold of success. Stories of 
what he hopes to do — of what he wants 
to find. But have you ever read the story 
of a man who said he was through — 
unless ? 

The Filipino boy had cleared away the 
table, lighted the Benedictine for one of 
his famous demi-tasse de liqueurs and 
left for the evening. Johnnie Walker and 
I were in front of his huge fire-place — 
alone ! 

"It's curtains, I guess, unless the last 
one hits !" Johnnie seemed to be think- 
ing out loud rather than talking to me, 
so I decided just to lie back in the big 
chair and listen. 

"It all started back there when I made 
'Over the Hill,' the picture was a huge 
success and I was to have a happy 
future, but I didn't. I was immediately 
stamped and indexed by both the public and the pro- 
ducers as 'a sympathetic boy' and, for all my fans know, 
I must still be in rompers. 

"Da.sh it all! I've grown up — I've grown older — and 

my future still pursues me. The pictures calling for a 

sympathetic boy are, at least temporarily, not being 

made. 

j "Of course, for quite some time after the picture was 

' released, I played the same parts in other plays, but there 

f, never was a story like 'Over the Hill' — for a boy part — 

I and I don't suppose there ever will be another. 

"Sometimes, as I look back, I shudder to think how 
I went merrily on — playing one boy after another — happy 
in my ignorant belief that my time had come, that noth- 
ing could stop me — I was made. I sincerely believed that 
I would go right on, playing the same role, and that jieople 
would always like it — and the producer would continue 
to produce — and 




A One-Part Actor 



B' 



^UT now, I can see that had I done anything else — 
anything — I would have been better off. I had been 
unconsciously branding myself as a 'one-part' actor. The 
public knew that Johnnie Walker was a boy — a perpetual 



boy. They kneza that, and they believed it 
to such an extent that I couldn't play another 
thing and get away with it ! 

"Yes, I tried, I did everything from a 
'Tom Mix' to a 'Lon Chaney,' but there was 
no use — they just wouldn't have it. I didn't 
realize the full importance of my mistake 
until I did my last 'little-boy' picture. It 
was terrible — the worst story a player ever had to swal- 
low, and the public loved it. Suddenly, as if I had been 
asleep and just awakened, it dawned on me — 'I made 
myself what I am today' — why it even reached the point 
where I only received fan-mail when I stuck to my 'self- 
imposed' characterization. It was too much — I quit. 

"A year or so passed. I was trying tq forget pictures, 
but you know that it is impossible to stay away from 
either stage or screen once you have so much as sampled 
success. I decided to try producing — what a delightful 
pastime that is. Just like juggling bombs. One only has 
to spend thirty-six hours a day working and the other 
twenty- four trying to keep the pen — with that damn red 
ink — out of the bookkeeper's hands. You know I had 
four bookkeepers and each one's favorite color was red — 
RED. I got so I hated that color so that I came to the 
conclusion that I would have the books of my company 
kept in red ink entirely — of course, that necessitated blue 
ink for deficits — and it wasn't long before my books were 
all blue. I wasn't so easily fooled by this as I had been 
with my parts — so 'little-boy-blue' sold out. 

"Then I takes myself aside and I sez to myself, sez 
I — 'You're a cinch, Johnnie Walker, your success is surely 
{Continued on page 77) 

66 





One up on the tiger 
Dorothy Sebastian: she can 
and does change her stripes. 
She has all the facility of a 
cross-word puzzle for hav- 
ing things either vertical or 
horizontal 



At the right Dorothy Se- 
bastian and Anita Page 
execute the drill that 
comes once in a lifetime. 
Dorothy may seem to be 
getting off on the wrong 
foot But at least her 
instep is in step 



Who says there is no 
loyalty between girls? 
We ask this pretty 
aggressively, too — for here 
are Dorothy Sebastian 
and Anita Page backing 
each other up very 
staunchly indeed 



K. a. I^juise Photos 




56 




lorifying the 



merican 



wha 
to fine 
of a 
unless 
The 
table 
his 
left 
I w 
alon 




Dorothy Sebastian above 
18 displaying a definite 
inclination toward fire- 
works. But this never 
happens on the set. As 
for Polly Ann Young, 
below, she is plainly no 
lily of the field: she toils 
lot and likewise doe« 
she spin 



Two copies of the same 
Page — the first name 
being Anita, toting an 
adult firecracker. Anita 
may or not powder her 
nose. But there's no 
doubt she knows her 
powder 



R. H. Louise Photos 



C. S. Bull 



57 



or Laughini 




You Never Can Tell What the 

Next Fellow Thinks Is Funniil^ 

III 

y 
p 

bb 



By Hal K. Wells 




But I've sort of outgrown those juveni 
ideas of wit. I've even reached the intellectual 
stage where I no longer regard the injection oi 
either limberger cheese or a belligerent skunk 
into a scene as being the very last word in ex- 
quisite humor. 



No one can doubt, in the face of the 
evidence above, that the girls of to- 
day get plastered. Or, from that at 
the right, that the young Holly^^ood 
clubwoman doesn't do active work 



THERE can be little 
doubt that the two- 
reel comedy still re- 
mains the cross-e%ed step- 
child of the motion picture 
industry'. 

It alone of all the 
screen's varied entertain- 
ment has failed to show 
any real progress whatever 
since those dear dead days 

of yore when the first Keystone cop socked the first cus- 
tard pie into the shrinking countenance of the first digni- 
fied old gentleman in a high silk hat. 

Today the average two-reel comedy has attained an 
innate triteness, childishness, and absolute vulgarity that 
is little short of appalling. 

Xo, I haven't gone high-hat. I still have a sense of 
humor that regards a good stag party anecdote superior 
to the best treatise on relativity ever written, and I still 
prefer Ring Lardner to Sherwood Anderson any day in 
the week. 

But I am becoming most thoroughly fed up with the 
alleged comedy of the two-reelers. Several years ago, 
when I still thought that a stick of striped peppermint 
candy was Heaven's one great pft to a starving world. I 
got a big kick out of seeing a screen funny man fall on 
his terminus. I screamed with glee when he got a broad- 
side of gooey pastn,' on the snout. I howled with joy 
when a large gob of ice cream slid down the back of a 
lady's evening gown. 



58 



Too Much Tripe ( 

A ND I believe that among the motion picture audience 

^^ of this country there are several million other adulti 

above the mental age of six and one-half years who fe 

the same way I do about it. 

We tolerate the present gosh-awful crop of two-re( 
comedies for the simple reason that we can't get anythi 
better. We don't expect caviar, necessarily, in the tw 
reel field. But we are getting mighty tired of tripe. ,• 

There are a very small number of current sho 
comedies that really are clever, original, and reasonab". j 
subtle. But these exceptions are so few and far betwedi 
that they merely make the rest of the product loom vvf 
as more crude and hackneyed than ever. 

These few different comedies have, strangely enougi 
proved riots wherever shown. They appealed to tl 
(Continued on page 86) 



* 



The first is the 
way John Gilbert 
likes his garments 
and the second 
how he likes his 
gardens. The 
blazer he wears at 
the right would 
make any awning 
turn pastel with 
envy. He has re- 
moved it in the 
picture below to 
give his scarlet hi- 
biscuses a chance 
to do their stuff 







59 








Richee 



Neither the presence of a white collar nor the absence 
of his team-mate, Wallace Beery, can affect the good- 
humor of Raymond Hatton 



Mary Ashly is a nice name. But we question whether 

it really fits her. Should she not have one, like herself, 

with two capital I's? 



J^ooking Them Over 

Close-Ups From the West Coast 






As a master of ceremonies, Eddie Lowe 
is a great publicity man for Wil- 
' liam Fox. At the opening of 
"Street Angel," Eddie seemed to have 
entirely forgotten that he was there to in- 
troduce the cast and launched into a glow- 
ing tribute to Mr. Fox, Mr. Sheehan, Mr. 
Wurtzel, the Movietone, the Fox vaude- 
ville theaters, the Fox movie theaters and 
the wives and relatives of all the execu- 
tives. 

Maybe, it wasn't quite that bad. But I 
think it was a little worse. 

Eddie mentioned each one. of the new 
Fox pictures individually and superla- 
tively. Starting with that "masterpiece," 
"What Price Glory," he worked on 
through "Sunrise" and "Four Sons" to 
"Street Angel." As a little after-thought, 
he casually mentioned that these pictures 
placed the Fox Company undisputably at 
the head of the production business. 

You can imagine the discomfiture of Carl- Laemmle, 
Harry Rapf of M.-G.-M. and B. P. Shulberg of Para- 
mount. They all had paid five dollars to find this out. 

Doris Displaces Alma 

T ITTLE Doris Dawson is beginning to get some nice 
'-^ breaks in pictures. 

Doris was signed for a small part in Harry Langdon's 
new picture in support of Alma Bennett, the leading lady. 
I don't know just how it happened, but before the picture 
was half over Doris was promoted to the featured part. 

They're pretty proud of her out at First National where 
they hold a five-year contract on her services. 

60 




Snoring a Success 

In spite of Eddie, Hollywood was not as 
sold on "Street Angel" as it might have 
been if the picture had been half as draggy 
and drawn out and more definitely re- 
moved from the influence of "Seventh 
Heaven." Several celebrated gentlemen j 
around me slept throughout the entire 
showing, and one of them snored unmusi- 
cally along with the Movietone accompani- 
ment. The critics found Janet Gaynor 
and Charlie Farrell adorable,- but Janet 
and Charlie would be adorable in even less 
worthy material than "Street Angel." 



Feud for Thought 



No Who's Hula can be con- 
sidered complete without 
the name of Billy Dooley 



TThe dove of peace must be nestling over 
the M.-G.-M. lot, for the announcement 
comes that John Gilbert and Joan Craw- 
ford are to appear opposite one another in 
"Four Walls." Joan and Jack have never previously 
admired one another to any great extent. In a newspaper 
interview, Joan even went so far as to say that she en- 
joyed working with all the men on the Metro lot except 
Jack Gilbert ; and though Jack never bothered to print 
his opinions, you got the idea that there was no love lost. 
It's nice that these little difficulties have been ironed 
out. Feuds are fun for everyone but the producer. 

Norma Next Door to Herself 

roRMA T.\LM.\DGE has sold her Santa Monica beach 
house to George Bancroft and has rented Bebe Dan 
iels' place next door. 



N 



01 S( 

ofrt 
kdy 
acro; 



Cat 
Ok 



fl'as 





Russell Ball 

When you want people for a mob scene, call on Ethel 

Jackson. In one picture she played eight different 

parts. A plain case of where one's a crowd 



Arthur Stone — a rolling one, headed for success. He 
may be gathering little moss, but he is attracting some- 
thing more valuable — attention — for characterizations 



Out Hollywood Way 



By Dorothy Manners 



Stars in the Daylight 



THE big stars of Hollywood are becom- 
ing more and more democratic. For a 
long time no player of dramatic standing 
would consent to shoot scenes on the 
streets of Hollywood surrounded by the 
staring mob. In deference to this, most 
of the big studios built street sets which 
boasted bank buildings, stores, garages, 
traffic signals and everything. Only com- 
edy companies saved expenses by work- 
ing out in the open. 

But lately I have spotted Clara Bow, 
William Haines. Harold Lloyd and Vir- 
ginia Brown Faire busily at work in front 
of some building in Hollywood. 

The day Clara Bow shot scenes in front 
of the Bank of Italy, one excited tourist 
lady waved frantically at a friend parked 
across the street and yelled : 

"Annie, come see Alice White!" 

Molly O'Day Climbing 



SATURD.AY afternoon tea at the new Roosevelt Hotel is 
becoming as compulsory as Wednesday lunch at the 
Montmartre. At a recent get-together, Molly O'Day 
gave away the dancing trophy, which was won by Sally 
Phipps. 

After the important business of the dancing contest 
was over, Molly confided that her next picture would 
probably be a Molly O'Day production. Stardom is com- 
ing quickly to these new kids. Molly has had no par- 
ticularly outstanding success, but her consistent releases 




have kept her so much in the public eye 
that she is worthy box-office material. 

The Female of the Wampas 

There's a new movie club. For a long 
time "Our Club" and "The Regulars" 
were about the only girls' clubs in Holly- 
wood, but now along comes the Wampas 
Girls, made up of the Wampas Baby 
Stars of this year. The girls got so 
friendly that they organized a club to meet 
every Monday night. Lina Basquette is 
president. She ought to have a lot of fun 
calling Lupe \'elez to order and getting 
Sue Carol to give a little lisping speech. 



Modest Little Dolores! 
of midsummer 

can hold little T^ixis Fox tells an amusing story on 
* Dolores del Rio. Finis is the scenario 
writer of the Edwin Carewe-Del Rio unit 
and also the brother of Carewe. He says the three of 
them were lunching one day between scenes of a picture 
and some one remarked on how splendidly they teamed 
together. Finis says Dolores mulled that over for a mo- 
ment and then nodded her head gravely: 

"Yes," she agreed, "thees is right. Where Finis is 
weak, Eddie is strong ; and where Eddie is weak. Finis is 
strong, and where they are both weak / am strong." 

Buddy Broadway Bound 

BUDDY Rogers, more formally called Charles, has left 
for New York. It's Buddy's first trip. Will he have 
a good time, or not? I ask you. ( Continued on page 87) 

61 



The prospect 
heat waves 

terror for Doris Martel 




anityy THIGH Name Is Voris! 

A great deal has been written from time to time about screen tests. But have you ever 



seen one? If not 



-or whether or not — then observe this one of Doris Hill. Not only a 
screen test, but one with the screen removed 



62 




Qold 



In That Thar Boy 

Mr. Fox Left No Doubt 
About It When He 
Signed Rex Bell To 
Whoop Up His w.-k. 
Westerns 

B:y OSCAR HENNING 

WHAT clinched it was somebody's sudden 
idea that he looked like Lindbergh. 
This George Beldon had been in the 
running for weeks for the honor of stepping into 
Tom Mix's shoes. The Fox people had made 
tests of everybody from Rin-Tin-Tin down to 
the iceman in their 
frenzied search., George 
Beldon had been tested 
standing on his head, eat- 
ing asparagus and brush- 
ing his teeth, among other informal 
poses. Perhaps it was something 
brutal in his attack with the tooth- 
brush that made them uncertain 
about his sex appeal, for instead oi 
crowning him king of, the wide 
open spaces they cast him as a 
heavy and gave the hero busi- 
ness to young Rex King. 
After King had passed into the 
movie never-never land by 
breaking his contract in six 
different places, they made up 
their minds that Beldon was 
the chap they had wanted all 
along. So (you know how it 
is) he got the job. And they 
proceeded to rename him Rex 
Bell, under which snappy cog- 
nomen he will shortly burst 
upon the screens of the coun- 
try, wearing chaps, a great big 
Stetson lid, and a smile that 
gets "em comin' and goin'. 

The smile is first cousin to 
the rather well-known Lindy 
grin — the grin that for every 
man, woman and child in the 
country spells hero. As Mr. 
Fox aptly put it, in the 
^^'estern accent he adopts for 
such occasions : thar's gold 
in it. 





Autrcy Photos 



One Rex After Another 



'T'here's gold of another sort in Rex Bell. He's not the 
boy to lose his head and go prancing around Hollywood 
like a maniac, just because he has a five-year contract and 
is all set to be the new fad in Western hombres. Certainly 
he has. in the sad story of the rise and fall of Rex King, 
an object-lesson which it would be hard to disregard. But 
it's wasted on him, because he's got the modesty as well 
as the smile of the young gentleman who hopped over 
to Paris. 

When I came upon George on the Western Street set 
at Fox Hills studio, he was playing the same scene he had 
done a few weeks before with Rex King, but in reverse 
order. They were re-making the story King started on, 
with George transferred to the hero role and a newcomer, 
Neil Neely, put in his old place as the heavy. George 
(they all call him George at present) had to flash his 
fetching smile at the heroine, who, in a becoming gingham, 
stood with her father at the door of the gospel tent. The 
heavy objected on principle and delivered his grinning 
adversary a nifty one to the point of the jaw. 

They faded out on this tense situation and George 
Beldon. alias Rex Bell, came over to tell me all about 
himself. 

"My own particular way into pictures," he said, point- 
ing with a smile to the sets around us. "I sold 'em the 
materials for the sets as a salesman for the Blue Diamond 
Company, and so got to know the picture crowd. Being 
around the different lots a good deal of the time, they got 
to noticing me, and the first time an assistant director 
(Continued an page 89) 

63 



She undoubtedly has a 
pash for apache parts, 
has Beth Laemmle, niece 
of the Mr. Universal 
himself. And her success 
in enacting them entire- 
ly vindicates the merits 
of the theory of rela- 
tivity 




Not only is Beth Laemmle on her tip-toes 
to please fans — but fans will be on theirs 
to see her. She provides an added incen- 
tive to Watch This Column 



64 



dAs told to 

Princess Evr 

by 

10,000 Men 




^'Women Use 
Too Much Kouge' 



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65 



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Omooth exquisite skin is 




Ren^e Adoree — Metro-Goldwyn-Mayer. 
"Lux Toilet SoaJ) gives my skin that 
beautiful smoothness I thought only ex- 
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Irene Rich— Warner 
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skin the same 
smoothness as fine 
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Clara Bow — Para- 
mount. "Lux Toilet 
Soap is a great help!" 



66 



I 



n the luxurious bathrooms of great 
stars and in the dressing rooms of all 
the big film studios this soap cares for 
the skin of the most beautiful women 
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ONLY exquisitely smo( 
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smooth 
can 

defy the cruel lights of the close- 
up virhich permit of very little 
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Every star in Hollywood 
knows that smooth velvety skin 
means even more to her than it 
does to most women — it means 
her very career. 

Nine out of ten screen stars use 
Lux Toilet Soap*. It cares for 



the skin the true French way. 
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Janet Gaynor — Fox Films. 
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♦There are in Hollywood 433 important 
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Greta Nissen- "Lux 
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i 



Directors say: 

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Merna Kennedy- 
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Bebe Daniels — Para- 
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Billie Dove— First Na- 
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May McAvoy— Warner 
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67 



Good 

Looking 

Long 



Lasting 




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Weapons permissible in D. W. GrifiBth's "The Battle of the Sexes" include 

both razors and shears. Here is one glimpse of the clash, taken in the 

barber shop of the Hotel Ambassador in Los Angeles, the battlers in the 

chairs being Phyllis Haver and Jean Hersholt 

Are There Any Great Loves in Hollywood? 

{Continued from page 17) 



Will we all go down to dust leaving no 
trace behind because we are incapable of 
flames hot enough to scorch our names 
across the eternal skies? 

Now the Exceptions 

'T'o every great and fundamental question 

there are great and fundamental excep- 
tions. It is only fair to consider them. 

The love of Mary Pickford and Douglas 
Fairbanks is the outstanding one. 

Mary loves Doug as a woman loves a 
man. Not as a painted mummer loves 
another painted mummer largely because 
the eyes of the world focus better on two 
than on one. 

Mary would love Doug if he were plain 
Jim Green and dug ditches for their daily 
bread. She would love him if there were 
no daily bread. She makes it evident in 
every word and gesture, in every thought 
and act that Doug is the indispensable 
tfiread in the woof and warp of her life. 
She has never taken off her wedding ring. 
It is too precious to her. She prefers 
companionship with him to convivial eve- 
nings anywhere else. And — Time has 
given this love its place among the loyal- 
ties. 

There are other loves worthy of hon- 
orable mention. The love of Estelle 
Taylor and Jack Dempsey. A great, pro- 
tective adoring love of a powerful man for 
a responsive, silken woman. 

There is the love of Frances and Tom 
Meighan. Nearly twenty years of it. 
Through the numerous adventures and 
misadventures of life. Through tempta- 
tion and turmoil. Through thick and thin. 
Love, like cities, attains dignity with Time. 
Attains its place among the loyalties. 

There is the love of Daisy and Tony 
Moreno. Founded in dignity and mutual 
respect, built of the bricks of endurance. 

The love of Lilyan Tashman and Ed- 
mund Lowe. A ten-year-old love as radi- 



ant to-day as it was in the substantially 
far-off Yesterday. 

These are a few of the very few lovesf 
that matter. And they crop up in Holly^ 
wood as do hardy perennials in a transient 
garden spot. 

"Love," a Topic of Conversation 

"T^HERE is much talk of love in HoUywoodl 
Perhaps for want of a better name! 
Affairs that begin on Monday and end on 
Saturday night make tabloid tosh for the 
readers thereof. 

It is a curious commentary. They havd 
beauty. They have youth. They are fas 
from being unintelligent. They havej 
wealth. They have all read a book. They 
are familiar with the world they live in. 
They have had "advantages." They movi" 
to the music of the spheres and yet — s( 
few grand chords have been struck. Sc'j'j 
little music akin to "the sound of a greai'' 
Amen." So few everlasting echoes to 
strike the listening ear. 

They talk among themselves of days 
that are coming, sooner or later. Days 
that will leave them stranded on the shoals 
of oblivion. They speak in muted accents 
of Time, inevitable, when they shall be 
seen no more. 

Has the lack of great love anything to 
do with it? Might not the modern world, 
well lost for love, inscribe one name, M 
least, upon the annals of immortality? 
wonder. 

To build buildings brick must be fired 
and firm. To grow hardy perennials th<rt 
roots mu.st sink deep into the aching soiljy 
To build great fame there must be heart' 
blood and the wrought ecstasy of thj ^' 
spirit. -^ 

Where are these things in Hollywood ? . 

Lace and mists and spindrift. But wher| 
the iron and steel and sinew? The 
pacity for human sacrifice? The ster 
stuff of the loyalties? 



#t 



«;• 



68 



\\ 



J 



JSyehrows liks this in Wdqys 



By Lucille Young 

America's most luidely 
itioivn Beauty Expert for 
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Box 179, Jeanoette, Penn. 




Lucille 
Young, 
887 LadUeTemg 
.* Bl<U.,aicaio,in. 



flut they were the ways others have tried. 
I, like others, failed utterly. Then I made 



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69 




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The Mysterious Mr. Fuhr 






(Continued from page 29) 



A Man of Many Interests 

DURIXG his Hollywood career Charley 
Fuhr was referred to in various ways 
as "a friend of the arts," a "big-game 
hunter," a- "man-about-town." He was 
called many names by those envious souls 
who had not had the fortune to meet him 
— a "fine oil can," a "snob," a "buttinsky." 
But no one, even among the disgruntled, 
ever thought of calling him one name, "a 
fake." 

And yet the celebrated Charles Fuhr 
had no existence except in the fertile imag- 
inations of a congenial group of young 
reporters, players and press agents who, in 
those days, were in the habit of meeting 
for dinner every night at the Hoffman 
Cafe ! They were young, clever, with a 
sense of humor. On the evening when 
Charley Fuhr came into existence they had 
at fim no notion of jjerpetrating the great- 
est hoax Hollywood was ever to know. 

Among their number was a New York 
writer of morose disposition. Xo mat- 
ter who was mentioned, this man had 
something unkind to say of him. One 
night, before he arrived, his friends de- 
cided to test him out with a purely fic- 
titious person. Just who was responsible 
for the name "Charley Fuhr" has never been 
quite settled. It might have been Scoop 
Conlon, or Bill Hart. It might have been 
Tom Geraghty. At any rate, Charley was 
enthusiastically baptized in beer. When 
the chronic misanthrope appeared, one of 
the Round Table mentioned casually that 
he had seen Charly Fuhr on the street 
that afternoon. The others took up the 
joke. Charley Fuhr! Well, what was he 
doing here? Good'old Charley. 

"You remember Charley, don't you, 
Bill?" they asked the victim — '.'must have 
run across him in New York. A regular 
guy, Charley." 

The c>-nic fell into their trap. Yes, he 
knew him, he admitted sourly, and he 
didn't know anything good of him, either. 
If there ever was a cheap-skate and a 
'oafer, it was Fuhr! Skilfully they led 
him on to relate sundry pungent and 
sultry anecdotes of Charley Fuhr until at 
last he realized that he was the victim of 
a practical joke. But by that time 
"Charley Fuhr" had become far too real a 
person to abandon. 

One of the group. Scoop Conlon, being 
dramatic editor of a newspaper, it was 
easy to get their creation into print. The 
next morning all Hollywood was informed 
of the arrival in town of the famous big- 
game hunter. "When intennewed by our 
correspondent ," the story ran, "Mr. Fuhr 
expressed his approval of the climate, the 
scenery and the charm of Miss Constance 
Talmadge (a particular friend of the dra- 
matic editor's)." 

Even then the creators of Charley had 
"no intention of keeping up the joke, but 
to their amazement the sophisticated city 
of movie vamps and celluloid sins jumped 
at the bait. The telephone was kept busy 
with inquiries for "Mr. Fuhr," film stars 
wanted to entertain the visiting celebrity, 
club women wanted him to speak to them 
on "Lion bunting." It was too easy. No 
matter what extravagancies their devilish 
ingenuity devised for "Charley Fuhr" they 
were readily accepted. Within a week he 
had become a recognized member of Hol- 
lywood society. 



Celebrated Along Broadway 

Within six months he w-as known 
New York as well. When Connie Tall 
madge went East to sign a starring con 
tract with a well-known producer, tha ' 
flattered gentleman received a telegram as- 
suring him that when his new star camtj 
West "the famous Charley Fuhr had prom- 
ised to be among those at the station to] 
welcome her." In his pride at the honor 
the producer gave the news to the New 
York papers with the result that when 
Constance Talmadge arrived in Los An- 
geles the "New York Morning Telegraph" 
announced that "Charles Fuhr of the Hoff-' 
man press service met her at the train 1" 

For two years the ingenious creators 
of Charley spent much of their spare time 
in thinking up business for the suave, 
worldly, and wealthy Mr. Fuhr. When a 
monument was unveiled in any part of 
the country, a telegram of congratulation 
was received by its sponsors, signed 
"Charles Fuhr." He was elected judge of 
local contests (which a last minute acci- 
dent prevented him from attending). He 
was about to sue some press agent for 
slander. He had entertained some actress 
whom one of the Round Table gang 
wanted to publicize. 

It was his habit of giving gay bachelor 
dinners that brought about Charley's end. 
Over the steak and coffee one night at the 
Hoffman Cafe someone suggested that 
since Charley was such a devil with the 
gals he ought to have a chaperone for his 
parties. It was decided to bring his sister 
"Bessie Fuhr" to Hollywood to keep house 
for her brother. 

The same morning that , this burning 
news was made public in print an indignant 
lady presented herself at the newspaper 
offices and demanded to see the dramatic 
editor. He felt a trickle of apprehension 
when she announced her name as "Eliza- 
beth Fuhr, a pianist." Where was this 
woman calling herself Bessie Fuh 
There couldn't be another pianist by th/e 
name. She must be an impostor ! ar 

It was the end. If the editor wanted ^^ 
keep his job, the Fuhrs must be gotten (f^ 
of town immediately. Two days laterf"- 
banquet was held "in honor of Charv''"- 
Fuhr." The most famous stars in \^'-^ 
movies were iiivited as guests and caif ' ' 
delighted to think that at last they wc'* 
to meet the elusive Mr. Fuhr. Every ch('~' 
was filled — except the one at the he?-' 
the table, reserved for the guest of ' 
As the evening went by, a premoni"* i] 
the truth came over them, whic.'. grf 
to a certainty when Bill Hart rose and 
dressed the empty chair in an eloqul 
speech of affection and farewell. Holj 
wood understood at last that it had hit 
hoaxed — completely, magnificently, eLj pi- 
cally hoaxed. Rising, the stars of j" ten 
years ago lifted their glasses in a toast §^i to 
"Charley Fuhr!" )-»' 

The next morning papers bore the si m- 
ple statement that Charles Fuhr and it his 
sister Bessie had sailed for India to hv. mt 
man-eating tigers. They never return. , ed. 

But old-timers in Hollywood still sp(j ii;ak 
,' of Charley Fuhr. The i '; 



affectionately 

Hoffman Cafe has been torn down to m.-f 
way for skyscrapers, the famous Rov 
Table is gone, and its circle of joy^ 
friends scattered. Such splendid fo<ilery 
the creation of "Charley Fuhr" can ne 
happen again. Hollywood is not so yoi 
as it was ! 



3ld 
ike 
ind 
pus 
as 
ver 
ing 



70 




We can't quite make uut what Olive 
Borden is standing on, but if it's a ped- 
estal on whirh her adoring fans have 
plared her, it's exactly where she belongs 



The Most Misunderstood 
Girl in Hollywood 

(Continued from page 25) 

to meet a group of strange people, Olive 

unfortunately does exactly what nearly 

everyone else of similar temperament does. 

She masks her panic behind a dignity that 

is almost glacial. Xaturally, the person 

meeting her for the first time and expect- 

/ ing the usual breezy camaraderie of the 

I'^'film colony gets an impression of being 

°^ 'high-hatted." 

But Hovr Would You Have Acted? 

J There was that famous tea at the Rhz in 
A New York. Fox wanted the Eastern 
- magazine and newspaper people to meet 
their new star. With true modesty, the 
ballroom of the Ritz was hired for the 
y an^ir. 

^,-\fter waitmg around for an intermina- 
di- time, the writers were finally greeted 
si a strangely flustered young actress who 
ccctuated between icy dignity one minute 
tbd almost kittenish coyness the next, 
me of the impressions those writers sub- 
luently wrote of Fox's new star were 
nost savage in their disapproval. 
Here is what had really happened. Olive 
^'i not even know until fifteen minutes 
^ore that there was to be a tea held. 
She was rushed into the ballroom to con- 
front the waiting crowd without even 
learning whether the affair was in her 
honor or someone else's. For reasons best 
known to themselves, none of the studio 
publicity men were available to help Olive 
aut of her dilemma, and she didn't know 
what to do. She did know that it was 
vitally important that she make a favorable 
impression upon the assembled writers, 
most of whom were seeing her for the first 
time. 

The best way to refute her reputation 
of being temperamental around the studio 
and hard to work with is to rehash a few 
facts. During the filming of "Three Bad 
Men," Olive was thrown from a horse and 
50 seriously injured that she is not entirely 
{Continued on page 79) 



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71 




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Conscience Doth Make Howards 



{Continued from page 21) 



there was no provender in sight other than 
negative and film cans. So, as hunger is 
one of the two primal impulses which 
must be obeyed, they called in Bill How- 
ard. Bill had been dreaming of a beef 
stew for several weeks. 

Somehow or other the mob raised a 
hundred dollar bankroll and took a chance 
on Howard's salesmanship. Frustrating 
the sentries stationed at all strategic points 
to guard unwary executives from this very 
thing. Bill chiseled his way into the pres- 
ence of the mighty. "High-pressure sales- 
manship," they call it, and by dint of speed, 
pressure and prayer, Bill put the squeeze 
on the wisenheimers for ten grand. Cash, 
no checks. And that was positively the 
last occasion upon which he found it neces- 
sary to stifle the still, small voice of con- 
science. 

Things don't always go from bad to 
worse. Sometimes the fairy stories come 
true. More especially if you are Irish. So 
eventually Bill got a job with a megaphone 
in close proximity. His own special lepre- 
chawn got to work in his behalf, and sure 
enough, more by sheer luck than good 
management. Bill got a crack at a big 
picture. You remember "The Thundering 
Herd." It came close to being an "epic." 
Perhaps it would have been had Howard 
handled it the full distance. But it was 
half completed when Bill was summoned 
to rescue Paramount from its dilemma. 

■A Stampede of Luck 

"nTHE Thundering Herd" made a big 
noise in production circles, and when 
Howard followed through with more good 
ones, there was a clamor for his services. 
To date, the only pictures Bill cares about 
remembering are "Gigolo," "The Main 
Event," "His Count'ry," which has also 
been christened "The Ship Comes In," 
"The River Pirate," and, of course, "White 
Gold." 

Howard says that never again will he 
make a photodrama to equal "White Gold" 
— and the producers don't care if he 
doesn't. For with all its sweep of drama, 
its exquisite subtlety, and all the rare 
qualities that made it fairly blaze with a 
flame of genius seldom met in filmdom, the 
box-office gold the picture made was so 
white as to be almost anaemic. Artistry 
starves in the cinema while "Clancy's Yom 
Kippur" proves a merry movie money mill. 
It is rather discouraging to anyone with a 
less fighting heart than that possessed by 
William K. Howard. 

Since those baby days back in St. 
Mary's, Bill has grown to something under 
six feet. His face is bronzed by the sun. 
His hair is thick, and straight and black. 
He has big ears and a wide mouth 
which frequently stretches into a slow, ex- 
pansive smile. But the most impressive 
feature of his Celtic face are the eyes, 
first remarked by women thirty odd years 
ago. They are grey-blue, — or blue-grey — 
or blue, or grey, or black, according to his 
mood. And they are set at an odd angle 
beneath terrifying thatches of eyebrow. 
When gay with laughter, they fairly 
chuckle. When "melancholy claims him 
for her own," they are dark as sea-depths 
on a cloudy day, a fringe of sooty lashes 
drooping over them like some sombre cur- 
tain. 



A Paradoxicsil Personality 

pToR Bill hasn't what one might ten 
"an even disposition." His is a natun| 
of high-lights and shadows. He is ir 
clined to be intense, and becomes terribl 
enthusiastic over persons and things. Liki] 
most of his type he is susceptible to wc 
men — especially beautiful women. Althougi 
his worship is bestowed on a passing idee|l 
rather than upon the particular girl whq 
for the moment, represents it. His wif|| 
understands all this, and stands ready tf 
receive him as a mother a bruised boy 

In fact, this boy-like quality of Bill' 
is probably his greatest single asset. Th 
exuberant enthusiasm, counterbalanced b; 
a deep, but child-like despair — the apparent] 
sincerity — the earnestness of purpose — thi 
faith. All these things coupled with 
certain slight cynicism, a fox-like shrewd- 
ness, gained perchance in the trick schoo 
of salesmanship, and a basic understanding! 
of what will go and what will not in mo 
tion pictures. And if these characteristics! 
appear paradoxical — so is Bill Howard. 

Maturity will always lend a hand to 
youth, though fighting tooth and nail the( 
rivalry of equal age. Thus Howard has 
not yet encountered the green eyes of pro- 
fessional jealousy to any great extent. He 
is "the boy" — the bright boy — the white- 
haired boy. In Hollywood, Howard is 
more discussed than von Stroheim. And, 
the verdict is always in his favor. If, hi 
has an enemy, that one is fearful to fighti 
him in the open, for a cause against Bill 
would find few listeners and fewer sym 
pathizers. At present he is in the way of 
being something of an idol. Which is a 
very dreadful thing. For idols have an 
amazing manner of developing feet of 
clay — of crumbling away to nothingness. 

Dangerous Success 

r^ ESPITE a certain amount of dash in both 
. his pictures and his personality, How- 
ard is handicapped by caution. His speech 
and his work impress one with his pos- 
session of a great idea — and his present 
inability to find just the right words, or. 
pictures, for its expression. There is a^ 
hesitancy. Perhaps Bill no longer has the 
hunger urge that rode him in those hard- 
bitten days of "Hysterical History." The 
Pagan cavalier of "White Gold" may be 
getting religion in his well-fed life. If 
this be so, he will go down in Hollywood 
history as one of the Great Disappoint- 
ments. But considering him agai. , and re- 
membering those shadowed eyes — the sensi- 
tive, strong line of his mouth — confidence 
returns. And with it the consciousness 
that his type cannot be lulled to mediocrity 
by the sun of adulation, or the lotus of 
financial security. 

After all, there is more than a sarcastic 
reason for reference to Cecil B. DeMille 
as "God." In matters motion-pictorial De- 
Mille is seldom wrong. And his confi- 
dence in Howard is such that Bill holds a 
contract enabling him to count over some 
thirty-five hundred-dollar bills from his 
weekly pay envelope. Which isn't bad for 
a boy. Even a white-haired boy. Even 
a white-haired boy in Hollywood. And 
back in St. Mary's they must at least admit 
that there arc more ways of striking oil 
than by drilling a well. 



72 




Secret History of the 
Month 

(^Continued from page 35) 

nf giitn from his mouth, put it over the 
i«ak and ground serenely on." 

A lior^y trihute to screen art, as given 
to the world L\ Ltince Heath, of Gloria 
Swanson Productions: 

"Colonel Phil T. Clunn In'; announced 
his intention of giving the iinnic 'Sadie 
Thompson' to the most promising two- 
year-old in his stable. The hunch came to 
Colonel Chinn while he was visitinj; I^s 
Angeles during the showing of the p'ctiirc. 
'That certainly is a fast moving photf^- 
play,' said the colonel, 'and I have an 
idea Sadie Thompson would be a winner 
on the turf.' " 

How romance burgeons in the atmos- 
phere of Hollywood (from FBO) : 

"Ranger, FBO's wonder dog, is in love! 
A few weeks ago he showed signs of 
jealousy in the projection-room when he 
growled and barked at the appearance on 
the screen of the villain dog whom he 
thoroughly dislikes. More recently he 
played scenes with a female, Starlight, and 
the story called for her being hurt and 
near death. When Ranger saw these 
scenes in the projection-room, his tail 
drooped and he howled dismally." 

More canine wonders revealed by FBO 
»tudio: 

"TaflFy, prize-winning airedale pet of 
Ralph Ince, is believed to be the first dog 
to bark greetings over long distance tele- 
phone from coast to coast. Mrs. Ince, 
now vacationing in New York, called her 
husband at FBO studios and after asking 
about the dog's welfare was greeted by sev- 
eral barks from their canine pet, who rec- 
ognized her voice over the wire." 

Contribution to the language from Fox: 

"Ford Sterling, whose comedic ability 
has registered in countless film opuses." 

Great moment in the history of Art, re- 
vealed for the first time by the haughty 
l.^nited Artists: 

"In the old Biograph days D. W. 
Griffith wanted to get away from the long 
shots and see some heads. He suggested 
this desire to Billy Bitzer, his cameraman. 
Billy objected on the grounds that it had 
never been done and that focussing on a 
large head would throw the background 
into an indistinguishable blur. Griffith 
nonchalantly extracted a five-dollar bill 
from his wallet and waved the bill in front 
of Billy's eyes. 'I'll bet,' said Griffith, 'that 
it can be done.' Billy tried and won the 
five dollars." 




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Name 

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>mmoHl'tteHtlr c(t>& State 




RITA S. — Gary Cooper and Fay Wray 
are not engaged. Their latest picture is 
"The Wheel of Life." Buddy Rogers in 
"Red Lips." Janet Gaynor, "Four Devils." 
Charles Farrell, "The Red Dance." Doug- 
las Fairbanks, Jr., is the son of Douglas 
Fairbanks and Beth Sully, Doug's first 
wife. Mary adopted her sister Lottie's 
child, a girl. 

INTERESTED.— So am I. Charles 
"Buddy" Rogers was born in Olathe, 
Kans., August 3, 1904, and that's his real 
name. Saw Buddy at the showing of 
"Abie's Irish Rose." Great chap, also plays 
the trombone. Your letter will reach him 
at the Paramount-Famous Studios, 5451 
Marathon Street, Hollywood, Gal. Write 
Marion Davies at Metro-Gold wyn Studios, 
Culver City, Cal. 

BLONDE.— Allene Ray is a blonde 
also. Write Allene at Pathe Studios, 4500 
Sunset Boulevard, Hollywood, Cal. Wal- 
ter Miller was born in 1892. Write 
him at Tec-Art Studios, 5360 Melrose Ave- 
nue, Hollywood, Cal. Conway Tearle 
is still playing. Write him at Excel- 
lent Pictures, 729 Seventh Avenue, New 
York City. Olive oil may be healthful, 
but it never prolonged the life of a sar- 
dine. Clive Brook and Irene Rich are 
making a picture for FBO Studios, 780 
Grower .'<treet, Hollywood, Cal., called 
"The Perfect Crime." Antonio Mo- 
reno in "The Midnight Taxi." Write 
Antonio at Warner Bros. Studios, 5842 
Sunset Boulevard, Hollywood, Cal. James 
Hall and Buddy Rogers at Paramount- 
Famous Studios, 5451 Marathon Street, 
Hollywood, Cal. 

.^NN. — I hope I'm solving 'em for you. 
Johnny Mack Brown is twenty-four years 
old and is not married. Madge Bellamy, 
June 30, 1903 ; she's married. Ben Lyon, 
February 6, 1901 ; single. Billie Dove, 
May 14, 1903; married to Irvin Willat. 
Richard Arlen is twenty-nine ; married to 
Jobyna Ralston. Your typing I think is 
great. Lon Chaney is playing in "While 
the City Sleeps." Janet Gaynor and Barry 
Norton in "Four Devils," and your letter 
will reach them at the Fox Studios, 1401 
Northwestern Avenue, Los .Angeles, Cal. 

LESLIE FIELD.— Nothing definite yet 
on the picture, "War Birds." John's latest 
picture is "Four Walls" and Joan Craw- 
ford plays opposite. Write .Anna Q. Nils- 
son at FBO Studios, 780 Gower Street, 
Hollywood, Cal. Jean Arthur is playing 
opposite Richard Dix in "Warming Up." 
This is a baseball yam. Write Richard 
at Parampunt-Famoug Studios, 5451 Mar- 
athon Street, Hollywood, Cal. 

BUCKSHOT LIB.— How's Nashville? 
Emil Jannings was born in Brooklyn. He 
went to Germany with his parents when 
he was about a year old. His latest pic- 



ture is "The Patriot," and you may wnri 
him at Paramount-Famous Studios, 545! 
Marathon Street, Hollywood, Cal, Lou 
Tellegen is playing on the legitimate stage 
right now. Josephine Dunn will be Wil- 
liam Haines's leading lady in "Excess Bag- 
gage." Buster Keaton and Marceline Day 
are playing in "Snapshots." Write them 
at Metro-Goldwyn Studios, Culver Citv, 
Cal. 

GARY COOPER FAN.— Gary was born 
in Helena, Montana, May 7, 1901 ; six feet 
two, reddish brown hair and blue eyes. 
He's single and his latest picture is ""The 
Wheel of Life." Write him at Paramount- 
Famous Studios, 5451 Marathon Street, 
Hollywood, Cal. Dolores del Rio is 
playing in "Revenge." Write her at 
United Artists Studios, 7200 Santa Monica 
Boulevard, Hollywood, Cal. 

FLO. — You refer to Leslie Fenton, who 
was Lieutenant Moore in "What Price 
Glory." Victor McLaglen's latest picture 
is "The River Pirate" ; Lois Moran and 
Nick Stuart also playing in this picture. 
Yes, Ted McNamara died. Write Lois, 
Nick and Victor McLaglen at the Fox 
Studios, 1401 Northwestern .Avenue, Los 
.Angeles, Cal. Send me a self-addressed en- 
velope for the list of photos I can supply, 
as this list is too numerous to print in this 
column. 

BROWNIE.— Glad to hear from you 
again. Well, between the stars of movie- 
dom and the flyers in town, this metropo- 
lis sure is a busy place. Rut never too 
busy to answer your questions. Reed 
Howes was Joe Hennessy in "Roughhouse 
Rosie." Ronald Colman was Beau in 
"Beau Geste," and you pronounce it Bow 
Jest. Laura La Plante was born around 
the time of your birthday, November 4. 
George Duryea is playing in "Tide of Em- 
pire," starring Renee Adoree. 

LONELY BABY BLUE EYES.— Are 
you lonesome tonight? Let a smile be 
your umbrella. Ramon Novarro is -till a 
bachelor. Write Ramon at Metro-Gcidwyn 
Studios, Culver City, Cal. Vilma Banky, 
Baby Blue Eyes, is not married to 
Ronald Colman ; Rod La Rocque's her hus- 
band. Write Frankie Darro at FBO Stu- 
dios, 780 Gower Street, Hollywood, Cal. 
and he's not related to Tom Tyler. 
You pronounce Bellamy, accent first syl- 
lable. Bebc Daniels' latest picture is "Hot 
News." 

B. AND I. — Tom Mix is (ouring in 
vaudeville right now. Tom was born Jan- 
uary 6, 1879, and is married to A^ictoria 
Forde. William Boyd is playing in 
"Power." Write him at De Mille Studios, 
Culver Citv, Cal. Dolores Costello in 
"Noah's Ark." Thomas Meighan, "The 
Racket." Tim McCoy and Marion Doug- 
las in "The Bushranger." Write Tim at 
Metro-Goldwyn Studios, Culver City Cal. 



1. 




C. L. Kiing 

So you oould pet a peek at tlie king of 
pekes, Esther Ralston posed with Chutie, 
the fluffy Pekingese who is the star of stars 
among the Hollywood Pekingese dog actors 



He Plays Polo 

(Coiilhiucd from payc 26) 

And I don't belit-ve tliat Jack Holt gives 
a hang, one way or the otlier. 

I succeeded finally in dragging him away 
from his polo for al)()Ut ten minutes. 

"\'ou make a mistake l)y being so indif- 
ferent to interviews," 1 told him sternly. 

"Why?" 

"You've an interesting life story, if any- 
one Ci'cr could get it out of you. You've 
done romantic things, had interesting ad- 
ventures." 

"Yes?" asked Mr. Holt slowly. Then 
he confirmed my staterient \Vith a nod of 
his head. "Yes," he said. 

"Well, tell me about them," I suggested 
encouragingly. 

"What is there to tell?" 

"You got into pictures by jumping a 
horse off a cliff, when no one else would 
dare do it, didn't you?" I prompted. 

"U-m-m-m," said Mr. Holt. 

".And you've risked your neck a score of 
times. I know that, because I've seen you 
hobbling around on crutches." 

"Hut," said Mr. Holt mildly, "crutches 
aren't any good to a man with a broken 
neck." 

"Oh, well, if you will be definite, you've 
risked your legs, then. Though you know 
a.s well as I do that people always say 
'risked your neck.' " 

Mr. Holt looked very thoughtful. 
"Whv?" he asked presently. 

"W'hy u'hair' 

"Why do people always say — " 

"Let's not go into that," I implored. 
"But haven't you risked — " 

"Nearly had an accident the other day," 
admitted the actor. "1 was playing polo 
and my horse slipped and fell with me. 
Another horse and rider fell on top of us. 

"But it wa.sn't a real accident, because 
noI)ody was hurt." 

"Have you," I asked earnestly, "any 
message for those loyal fans who await 
your return ?" 

"I like to make Westerns," said Mr. 
Holt, consulting his wrist-watch. "Now 
you'll have to excuse mc. I'm playing polo 
at Midwick this afternoon." 




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1st Prize . . $100.00 
2nd Prize . . . 50.00 

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To the Next 50 Best Drawings — A Fountain Pen 



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Everyone entering a drawing in this contest may have his or her 
art ability tested free ! When your contest drawing is received, we 
will mail you our Art Ability Questionnaire. Fill this in and 

return it, and. you will receive our critic's fiank report of your natural sense of design, 

proportion, color, perspective, etc. — and 

with it our book '^YOUR FUTURE," 

showing work of Federal Students and 

telling you all about the I'ederal home- 
study course. This is free and places you 

under no obligation whatever. 

This interesting analysis has been the 
start for many I-"ederal students, who 
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are now commercial artists earning 
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the rules carefully and enter this con- 
test — see what you can do. 



Federal School 

of Commercial 

Designing 

1045 Federal Schools Building 
Minneapolis, Minn. 



RULES FOR CONTESTANTS 

This contest npcn only to amateurs. Profes- 
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,1. No drawings will be returned. 

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Prizes will be awarded for drawings best in 
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your drawing of the girl now and send it to 
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Wyckoff 

Mary Brian is not trying to learn about horses from this mule. Retired 

by Uncle Sam, Dynamite, an old army mule that is now engaged in movie 

work, has found a very good friend in Mary 

The Sucker Who Succeeded 

(Continued from page 40) 



This isn't the story of Merlon of the 
Movies. But it might be. Tom Tyler, cow- 
boy star, tells these things with immense 
seriousness. His suit fits with suave and 
expensive perfection over his great 
muscles, and it has been many a year since 
a maternal voice warned, "Tom, brush your 
hair. It's a sight !" But he is still the type 
of earnest youngster who reads success 
stories — and believes in them, who scans 
advertisements promising to reveal the se- 
cret of Getting Ahead in twelve easy les- 
sons, and clips the coupon. He is still the 
youngster who (rather grimier, not so well 
pressed) alighted from a freight train in 
Los Angeles six years ago and looked 
eagerly around him. 

With him he carried his most precious 
possession, a letter from the Johnson 
Screen Training School to the Hollywood 
movie magnates, beginning "To Whom It 
May Concern." The letter went on to as- 
sure Mr. Lasky or Mr. Goldwyn that the 
bearer had completed with honor the 
course in screen acting and was ready to 
go to M'ork. "We recommend Mr. Tyler" 
(the name written in) the letter went on 
to reassure any still hesitating producer, 
"as either a hero, heavy or comedian, and 
promise you that you will make no mis- 
take in employing him." 

Faith Dies Hard 

In the course of the next three years this 
letter was to be laid trustingly, and then 
not quite so trustingly, before the delighted 
Kaze of many casting directors until finally 
it was so worn with handling that it was 
liardly legible. "By that time 1 had sort 
i)f lost faith in it," admits Tom, "and I 
threw it into the waste-paper basket. 

"I wouldn't wish what I've been through 
for anyone," he says, "for more'n a year 
1 don't have any room. I sleep on the hill- 
sides and in alleys in packing boxes. I'm 
hungry most of the time." 

The present tense does something star- 
tling — vital to his tale — the common- 



place Odyssey of a struggling movie extra. 
"Between jobs I get other work when 
I can. I wash dishes in dumps on the 
Boulevard — they let you eat first. Three 
times I start to write home and ask for 
money to come back. But my Dad said 
when I left, 'All right, go — and keep on 
going.' So I tear up the letters. I've 
lived for months on fifteen or twenty cents 
a day for food. There's still a mission on 
Spring Street where you get a bowl of 
lima bean soup and all the bread you can 
eat for six cents. I couldn't eat food like 
that now^and there are other ways. I 
used to go on those free rubberneck rides 
the real estate salesmen and oil operators 
give. Had to listen to a lot of hot air, 
but they always serve a free lunch." 

More Muscles Than Meals 

roR three years Tom Tyler tramped from 

lot to lot, and during all that time he was 
keeping fit for his chance when it did come. 
Four times a week he exercised at the 
Y. M. C. A. gymnasium, though sometimes 
his knees were so shaky that he could 
hardly stand. And the Y. M. C. A. gave 
him his chance. One day the bored eye of 
the casting director fell on his biceps. 
"You in the back there," he shouted. ' The 
husky guy with the black hair, c'm'on in." 

Tom Tyler had a job. He was hired as 
an Indian chief at fifty dollars a week for 
a serial. He was a movie actor at last. 

"I write home," says Tom, "and tell the 
folks what I'm making. But they don't 
believe me. And when I send 'em two 
stills from the picture showing me with 
my head shaved and my face painted, they 
launi.' I'm lying!" 

.\fter the serial his broad shoulders won 
him the part of a Prussian officer in one 
of Rlinor Glyn's pictures. The skin-tight 
uniform showed his Y. M. C. .'\. -built mus- 
cles to such advantage that Madame Glyn's 
eye singled him out and he was summoned 
to her side. 

(Continued on page 79) 



76 



Betty Blooms Again 

{Continued from paijc 23) 



"I'oor roles do you more harm than 
no parts at all! When I was a Lasky 
Mar I used to accept many picture stories 
that I knew were not riglit for me because 
they had been purchased and somebody 
had to do them. That is one mistake I 
will not make again. 

"When I first read this 'quickie' story 
I did not like it at all. I told my managers 
I wouldn't do it. So far a:-, I was con- 
cerned, that ended the matter. But they 
insisted that I have a talk with the pro- 
ducers, and I'm glad I did because I found 
them more than willing to change the story 
in»o a more logical characterization. I was 
c-ven consulted about a preference in direc- 
tors. You see, it has all worked out 
beautifully." 

No Personal Appearances for Her 

All of which is just one of the fruits 
of experience. The newer players 
ciiuld almost take lessons from Betty be- 
cause she has been all through their 
problems. A couple of otiier things Betty 
does not believe, in are personal appear- 
ances for a player at any time— at Itardly 
any place, even cafes. "It's not that the 
girls aren't lovely enough to stand the 
scrutiny," she believes. "It's just the il- 
lusion of the thing. Somebody may see 
you who doesn't believe in smoking, and 
so you lose a fan. Or mayl)e you will be 
wearing red in company with people who 
don't like the color. You can't please all 
of the people all of the time. .\nd so 
maybe it is best not to try to please any 

I them any of the time!" 
There is something about Betty that is 
amazingly independent. She's like F.velyn 
Brent in that. She believes very much in 
doing what you please and surrounding 
yourself with the people who feel as you 
do about it. The Sunday parties of the 



Cruzes are noted for their informality. 
They are tickled to death to have you, 
but after you get out to their spacious 
home in Flintridge you are left to enjoy 
the swimming-pool, the cool patio, or the 
other guests, as the mood may strike you. 

"When Jim and I were married, we real- 
ized that we were two distinct personali- 
ties with widely divergent tastes. That is 
a serious gap with many couples, I)ut Jim 
and I solved it — at least to our own satis- 
faction. We simply do as we please. 

"For instance, I like to go places and 
sec per.plc and do things. Jim likes noth- 
ing better than to tinker with the radio 
and spend an evening at home. We re- 
spect each others' ideas so much in this that 
we both do as we like. When I want to 
go out in the evening, I go. If Jim wants 
to go, as he rarely does, he goes along, 
too. But usually I go alone. He does 
not mind in the least if I go to a Mayfair 
party with another escort and dance the 
evening away. He doesn't even pretend 
to act the martyr." Betty laughed. ".And 
in return I try to be as considerate of him. 
I'm not at all jealous when he invites a 
pretty girl out to the house to have dinner. 

We had not yet finished our luncheon at 
the Roosevelt when her manager dropped 
in to tell her she was expected right away 
at an appointment about a new picture. 
Betty didn't even try to conceal her happi- 
ness at being so sought after again. Betty 
isn't the type that tries to conceal anything. 
She's glad she's back and she wishes the 
same to you. It's nice to know they want 
you. It's even nicer to know they are 
insisting on you. It brings a sparkle to 
the eyes and a pretty, soft, curve to the 
mouth. Like Betty's. 

The fascinating old twisted smile isn't 
so much in evidence as it used to be. 

Maybe Betty has her problems ironed out. 



Still Going Strong 

(Continued front page 55) 



blinding. You have done the impossible 
--at improbal)le moments — and all you 
need is to show the people how successful 
you are and they'll believe that — why 
shouldn't they? They believed everything 
else on the slightest provocation.' 

The Boy Grew Older 

1GRKW older and older — one day I was 
going down Hollywood Boulevard. Aly 
long, white beard flowing out the window 
of my car, and a i)r<)ducer saw nic — ha-ha 
— you're just the one wc want to play — 
'The Boy Stood on the Burning Dc ' 

"But, seriousIj% after two years of talk- 
ing I have at last convinced a producer 
that I can't get rompers on any longer — 
and he gave me a part, a wonderful part, 
as a 'hoofer' on Broadway. The bird who 
nicknames him playboy is due for may- 
hem !" 

Just then the telephone rang and Johnnie 
li It the room to answer it. 

I want to tell a few things I know about 
Johnnie Walker before he comes back ■ 
'don't believe all he's told you). 

lie has the part now that he should have 
had two years ago— he is truly great in 
the picture and he will come back. If you 
only knew Johnnie as I know him — as I 
know his record — his experience and train- 
ing — yon wouldn't want to lose him. He 
is one of the truly fine young men of 
I lollywood, a real gentleman, a man 



among men, a regular. He is one person 
everyone is glad to see — he wears well. 

Johnnie is the fellow you like to take 
home to dinner and introduce to mother. 
He's clean and real. A more typical 
American can't be found in Hollywood or 
out. 

He has a beautiful little bungalow on 
the side of a hill, out in West Hollywood 
near Beverly Hills, a place just covered 
with roses in bloom. Johnnie never invites 
anyone over, but everyone goes — do you 
see Johnnie's true character there? He 
makes such real, true friends that they 
want to be near him. The best reason for 
this is that he treats everyone the same — 
the boy coming up, the man arrived, and 
the poor fellow who couldn't make the 
grade — they are all "brother" and "buddy" 
to him — and he to them. 

That is the reason why I said — if you 
only knew Johimie as we, in Hollywood, 
do, you wouldn't want to lose him. My 
prophesy is tliat he will be one of our most 
popular stars in a short time now. I hear 
him coming back, so I'll have to stop. 
Johnnie doesn't like praise from me — he 
has had to listen to my praise too long. 

"As I said before — curtains if it doesn't 
hit — and I mean that. You've been listen- 
ing to a man who admits he's through — 

unless ! But for my sake, Walter, 

tell 'em all out there that there is a little 
boy in Hollywood who has grown up, 
will you tell 'cm that?" 




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Movie stars can't be quite so blase as those who envy them would have us 
think. One of them, at least — Joan Crawford — gets a terrific kick out of 

things on the studio lot 

From Toast to Toast 

(^Continued from page 2i7) 



^m^ 
-^^^'-»- 



In a year Joan Crawford, the finished 
product, was ready for immediate deliver}'. 
She had reduced until her figure was 
positively the rage of the screen. She 
began to learn the art of acting. She did 
her hair in odd and rather becoming ways. 
And she dressed herself with aplomb. 
Where was Lucile le Sueur? Where the 
plump form, the feet that ached and the 
face that bravely smiled ? Where, indeed ? 

In two years she was the Toast of 
Hollywood Boulevard. 

Somebody asks what I mean by the 
Toast of the Boulevard. Well, you know 
those Blah, Blah Story ads where it says 
".\11 Paris loved her — and then. ..." If 
you bought the magazine, you would in- 
variably find that she was the toast of the 
Boulevards. Roughly speaking, it means 
that a large proportion of the citizens re- 
garded her as a pood excuse to get spifli- 
cated. It is the highest form of compliment. 
And the most enjoyable. 

The Scene-Shifters' Delight 
VY/iTH all the other beauties that were in 
the running for the position of Holly- 
wood's toast-elect, it is not easy to de- 
fine exactly what put Joan on the throne. 
But she unmistakably possesses what the 
quaint Irish call "a way with her, begorra." 
She smiles upon all and sundry, rich and 
poor, electrician and star, scene-shifter and 
supervi.sor. Sometimes, especially with 
electricians and scene-shifters, the smile is 
accompanied by a friendly "Hello" and a 
quick retailing of the latest racy anecdote. 



Joan's anecdotes are always funny and some- 
times quite nice, too. 

Three years in Hollywood developed 
practically a new human being in Joan 
Crawford. Now, as the fourth year pro- 
ceeds, another change is taking place. 

Having won her way into the hearts of 
the good fellows, Joan felt it was 
time to get not only the Boulevard, but the 
Parnassian heights of Hollywood pouring 
libations in honor of her charms and her 
accomplishments. She would court the 
Muse. She would also court Douglas 
Fairbanks, Jr., a nice-looking young man 
who was noted for his pursuit of the God- 
dess Poetry. Doug got a hunci. for Joan 
and gave her a ring which looks like a 
wedding-ring. But to suggest this to her, 
however, is to invite a derisive laugh. In 
an_- event, these two stroll together, arm in 
arm, down the be-butter-cuppcd path of 
versification. Joan has already a number 
of free (absolutely free) verse composi- 
tions on her record. 

She has also placed herself in a setting 
more interesting and in far better taste 
than those of many self-styled veterans of 
things artistic in Hollywood. Her little 
house in Beverly Hills is at once simple 
and rich. 

Thus Joan is rapidly becoming a house- 
hold toast among the literati as well as 
the hoi polloi of the Boulevard. 

We aren't told what Mrs. le Sueur is 
thinking about her little Lucile these days. 
She lives in Hollywood, too, but in another 
district, with her stalwart son, Hal. 



78 



The Most Misunderstood 
Girl in Hollywood 

{Continued from page 71) 

well even today. Yet for months after- 
ward she concealed her pain and went 
gamely ahead making pictures until an 
utter collapse finally forced her to spend 
weeks in a hospital. 

Another instance. It was announcod 
for weeks in the official publicity of the 
studio that Olive was to play the coveted 
feminine role in "Sunrise." Then, without 
warning, the part was given to Janet Gay- 
nor. Olive was a star, Janet then a rank 
newcomer. Most stars would have raved. 
Hiding her own bitter disappointment, 
Olive went to Janet, helped her with her 
wardrobe, and gave her the benefit of all 
the reading and work that she herself had 
already done on the part. If that is "tem- 
perament," Hollywood needs more of it ! 

Olive was called "temperamental" be- 
cause she demanded a car to take her from 
her dressing-room to the stage just across 
the street. It does sound ridiculous until 
you learn that the street to be crossed was 
Western Avenue, one of Hollywood's busi- 
est traffic arteries, and that Olive's cos- 
tume at the time was a robe de unit. Few 
girls would care to walk across Broadway 
or Market Street in a nightgown, movies 
or no movies. 

.\'o, it is high time that the myth of the 
Borden temperament and Ritzy airs be laid 
forever to rest. It has already brought 
enough heartache to its helpless victim. 

I've written this brief story without 
Olive's knowledge or consent. She is very 
distinctly not the whining type. She'd 
rather take a sound spanking than even 
hint to anyone how savagely the situation 
has really hurt her. 



The Sucker Who 
Succeeded 

(Continued from page 76) 

"I'm looking for a man to do a bit in the 
picture," she told him, "and 1 believe 
you've got just the build for it. Take off 
your coat, please." 

Stripping Before Elinor 

■yo.*! blushed. "I— I can't do that," he 

muttered, "because — well, I haven't got 
anything on underneath." 

"Quite all right," said, sweetly, the Glvn. 
"Take it off." 

Before two hundred extras Tom stripped 

to the waist and got the part. Then 

I-'BO needed a Western hero and sent for 
him. "Can you ride?" they asked, and 
Tom, without flinching, answered, "Sure." 

Two weeks before his first picture was 
to start one of the ct>wboys on the FBO 
lot was approached by a white- faced 
youngster whom he recognized as the new 
Western star. "I want — " he said and 
swallowed hard — "I want a horse to — to 
ride art)und a little and get in practice." 

The cowboy led out Flashlight, a huge 
stallion, rearing as he came, saddled him 
and handed the reins to Tom. Clumsilj- 
the new Wild West hero scrambled aboard 
and clung desperately to the horse's mane. 

"(iosh, feller," whistled the cowboy, 
"how long you been riding anyhow?" 

"I'x'c nczrr been on a horse before in my 
life." Tom Tyler confessed. 

Two weeks later he galloped over the 
crest of the hill ir. pursuit of the outlaw 
gang, and the tlirector murmured to a news- 
paper reporter, "N'es, a re;d cowboy. Rit'lit 
off the ranch !" 




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Murnau or Never 

(Continued frovi page 33) 



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80 



a theater upon which a huge electric sign 
advertised "The Fpur Devils." 

I'm not so dumb. And when I saw that 
illuminated billboard, I remembered that 
this was the title of the picture upon 
which Murnau was pouring the oil of his 
genius to prepare a sure-fire film. Thus 
I figured, as it were, "If 'The Four Devils' 
are here, can the fifth be far away?" 

So This Is Pans 

I E.-wiNG Paris by the back door, I came 
into a part of the studio apparently 
deserted save for an assistant director and 
somebody's chauffeur. They were whiling 
life away by pelting one another with frag- 
mentary ice-cream cones. I was about to 
seek my man elsewhere, when I noticed a 
small screened-in area off in one corner. 
I tiptoed to it, and the first peek rewarded 
me with a glimpse of Janet Gaynor and 
Charles Morton going through a bit of 
routine on a shadowed staircase. The 
kleigs were burning, the camera grinding. 
But where was the director? There wasn't 
even a chair with "F. W. Murnau— Keep 
Off" stenciled on it. Not a megaphone 
in sight. 

PART THREE 

. ^ Synopsis : Alleged scribe has been told to 
write impressions of Murnau and hasn't yet done 
so. Now read on. 

I was roused from my reveries by some 
big donkey in a suit of brown dungarees. 
He insisted on pottering about the set, and 
the breadth of his shoulders cut off my 
view. Beneath the overalls I caught a 
glimpse of a workman's colored shirt from 
which emerged a ruddy coluiun of neck 
which was topped by a head thatched with 
red hair. This in turn crowned by a 
Basque hat. 

No wooden-headed carpenter can come 
between me and duty, and I was about to 
give the fellow one of those looks that De 
Mille bestows on negligent property men, 
when the towering form turned — and I 
stood in the presence. 

Yes, it was Murnau. Spare of frame, 
well over six feet, clad like any navvy. 
With a voice such as Shakespeare wi.shcd 
for women, with the utmost gentleness, he 
aliuost whispered his instructions to the 
youthful players. Yet despite his unobtru- 
siveness he dominated the set. He was the 
mentality. All the others the mere me- 
chanics of picture-making. 

Benefits of Education 

I TRIED to think what I knew in German 
besides "Ich will cin Seidel Bier haben," 
or some irrelevant remark about 
"Schnapps" — anything to put hiin at his 
ease before the press. But the thought 
was interrupted when he waved his hand 
and called : "Be with you in a minute," in 
accentless English. 

While we talked, I thought he was 
smiling. But now I am not sure but that 
impression came from the myriad little 
lines around his keen brown eyes. There 
are lacings of crow's-feet which give him 
a mischievous, elfish expression, intensi- 
fied by the sharpness of his plance and the 
laugh tliat always seems to linger beneath 
his lashes. 

His features are angular as his body. He 
might be Scotch. But of course he's Ger- 
man. His is the drawn- faced type of 
powerful physique that one might expect 
in the Emperor's bodyguard. The old 
Emperor — not the last one. His initials 
are F. W. I had speculated as to what 



they stood for. I thought of the fat 
sounding little names that seem made to 
order for the chubby type of Teuton. But 
as I looked him over, and luy glance at 
last rested on that sun-reddeued, freckled 
face, with its red crop of hair, and its 
virility of feature, I knew that the F. W. 
could mean only Friederich Wilhelm. I 
had found iny man. 

(To be continued) 

PART FOUR 

Synopsis : At last this guy Cruikshank is get- 
tiiig down to business. Maybe we'll hear some- 
thing about Murnau yet. Now read on. 

I wondered how the canny-tninded 
business men would ride this spirited 
horse. Whether he would be given his 
head. Whether he would be hampered by 
rein and bit. But when I saw the sets 
and the machinery and pondered the ex- 
pense they entailed, I scarcely needed to 
ask my question. They are letting Murnau 
go his gait. He will have no excuse to 
offer if he fails. But I don't think he'll 
fail. I scarcely believe he knows the 
meaning of the word. Competence, after 
all, breeds confidence. Murnau exudes that 
quality. 

He doesn't blame producers for uplifting 
the cinema with such gems as ■ "Maggie 
Alurphy's Matzoth." Their business is to 
make money. For even art must eat. But 
he fights staunchly for a division in the- 
aters so that those who frown on "Mag- 
gie" may see a "Sunrise." He believes 
that the motion picture public may be 
increased by catering to caviar tastes as 
well as to the preference lor Red Mike 
and violets. 

Admires Americans 

Qf the American directors he most ad- 
mires King Vidor and Henry King. 
But he also betrays a fancy for what he 
describes as the "earth-nearness" of Raoul 
Walsh. As to stars of the feline sex, Mur- 
nau prefers Janet Gaynor and Dolores del 
Rio. Marveling a bit at the selection, I 
asked reconsideration. He tip-tilted his 
red head at a perilous angle and regarded 
the ropes of an aerial set with thoughtful 
gravity. Then the reply. "I have not seen 
Gloria Swanson in 'Sadie Thompson' — but 
with her excepted, who else is there?" 
I thought of a name or two. But why 
argue ? 

Murnau has a probing mentality. The 
happy facultN' of piercing exteriors, of pass- 
ing through things as they seem, to face 
things as they are. He is a realist. The 
usual tilni Hummery is hateful to hi-.i. He 
must always portray life as it exists. He 
faces its comi)licatcd mysteries and simpli- 
fies their terms until it stands stark in 
])rimal form. With his story and his char- 
acters stripped of camouflage, he rc-drai)es 
thern nearer to his heart's desire — and the 
exigencies of his picture. 

"The Four Devils," completed, he will 
work on a combination of two stories. 
"Our Daily Bread," his own selection, and 
"The Mud Turtle," a Fox property. It has 
something to do with a girl, a waitress, 
who has served wheat in its usual forms 
for years, but who has never seen a wheat 
field. You see, he must get at the source 
of things. When he permits himself some 
brief respite from his present task, it is 
to glory in the work to come. Like nil men 
who stay young, he has an ambition not 
yet attained. It is a picture. He wouldn't 
tell me what. But when he finally makes 
it — there will be a new ambition — some- 
thing more for which to live. 




LEO-. 

THE M-G-M LION, 
IS ON HIS WAY! 

You've seen him countless times on the screen. He now 
makes his personal bow to the audiences of the world! 
He is starting across America and will circle the 
globe. His route will take him to many hundreds of 
cities. What a thrill to see Leo, himself, at last! 




THESE ARE THE MOST IMPORTANT PICTURES 

OF THE CURRENT SEASON. Watch for 

them at your local theatre! 




JOHN GILBERT 

in 
THE COSSACKS 

DIAMOND 

HANDCUFFS 

with 

ELEANOR 

BOARDMAN 

LON CHANEY 

in 

LAUGH, CLOWN, 

LAUGH 



SYD CHAPLIN 

in 

SKIRTS 



NORMA SHEARER 

in 

THE ACTRESS 

RAMON 

NOVARRO 

in 

ACROSS TO 

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DANE & ARTHUR 

in 

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and 

CIRCUS ROOKIES 

WILLIAM HAINES 

in 

TELLING THE 

WORLD 





ETRO -GOLDWYN-MAYER 

" More Stars than there are in Heaven ** 



CAN YOU REMEMBER 
$50 WORTH? 

Often half a dozen people will give 
different descriptions of things they see 
together, because memory plays us such 
strange tricks. That's why I'm interested 
in watching how people's memories 
work. Try yours on these five questions. 
I will give $50 and the Cossack Wrist 
Chain which I wear in my newest pic- 
ture, "The Cossacks," to the man who 
sends in the best set of answers. The 
best answers from a lady will win $50 
plus the Russian Glass Beads that Renee 
Adoiee uses in the same picture. Miss 
Adoree will also send photographs of 
herself for the fifty next best answers. 

John Gilbert 
THE TEST 

1 In what picture does Lon Chaney appear 
■*- without one of his typical make-ups' 

^ Who discovered Joan Crawford? What did 
^ she do before going into pictures? 

'I Describe in less than 75 words the biggest 
■^ picture thrill you ever had. 

4 From what country did Greta Garbo come? 
Lars Hanson? Dolores del Rio? Renee Adoree? 
Ramon Novarro? George K. Arthur? 

C What business-life role has Norma Shearer 
-^ played in recently? 

Wtite your answers on one side of a single sheet 
of paper and mail to M-G-M, 1542 Broadway, 
New York. All answers must be teceived by 
July 15th. Winnets' names will be published in a 
latof issue of this magazine. 

Note: If you do not attend pictures yourself you 
may question your friends or consult motion 
picture magazines In event of ties, each tying 
contestant will be awarded a prize identical in 
r-hatacter with that tied for 



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TO-NIGHT 

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Well, Doris, if giving up all those pink teas and charlotte 

russes has had anything to do with the results we see above, by 

all means stick to your diet. We like you this way 

Reducing Herself 

(Coiitinticd from page 42) 



"Marriage !" she gasped. "Oh, heavens, 
no. It's taken me too long to have gotten 
as far as I am to give it all up now." 
Young men, take note ! No matter how 
honorable the intentions, Doris isn't inter- 
ested — for a time yet, anyway. 

When she first came to Hollywood, I 
used to see Doris around the Cocoanut 
Grove winning contests and having a 
grand time with young Nick Stuart. But 
along came Sue Carol and that was the 
end of that rumor. "Nick sort of gave 
me the high hat after he got started so 
well at Fox and I was still doing extra 
work," Doris confided after curling her- 
self up on my couch, one day. 

She Couldn't Eat Her Cake 

r\oRis considered her pretty, pink finger 
'-'^ nails. "I haven't time to go chasing 
around to the Grove to tea, anyway. You 
can't keep up all those kid things and get 
the rest you need to look well on the 
screen, .•\ppcarance is just about half of 
stardom, don't you think? The first thing 
they did after I signed my contract was 
to advise me to reduce. I'd chased around 
to so many pink teas and eaten so many 
charlotte russes I was absolutely pudgy." 
She sighed. When you're about eighteen, 
it's hard to give up wiiipped cream, but 
Doris put her mind to it. Now, she's as 
fashionably skinny as Claire Windsor and 
Louise Brooks. 

"All except my ankles," said Doris, 
frankly. "I still have to take treatments 
to get them down." 

It's nice being successful and owning 
a contract. But it's a lot of trouble, too, 
when you're in your teens and like pink 
teas and fattening things to eat. 

The way she happened to get started in 
the great diet game was like this : 

Doris came out to Hollywood with her 
father and of course, riglit away, she was 
bitten with the movie bug. She started 



running around with Joan Crawford and a 
couple of the other girls, including Sally 3 
Blane and her sisters, and all they talked I 
about was the movies. They all dressed 
so cutely, too. And had such pretty cars 
to drive. Doris could hardly wait to get 
started.' It wasn't any trouble for her to 
get extra work. When you're as cute as 
Doris, it never is. But just working in the 
movies didn't satisfy her. She wanted to 
be Somebody. Every one else was ! 

Alone With an Allowance 

'VT^HEN it was time for lier father to go 

back home, Doris put her foot down. I 
She just wouldn't hear of leaving Holly- I 
wood. Her father said she must. But she | 
didn't. She got awfully independent about 
it and said she would take care of her- 
self — and everything. ".-Ml right," said 
her father, and left her to take care of 
herself with only a very small allowance. 

Those were the dark days. The allow- 
ance was very, very small and she wasn't 
getting along as fast as she had expected 
in the movies. She was too fat. Too 
youthfully plump. 

Finally, however, she landed a simll 
contract witli a small company. But she 
didn't like it. Of course, the money was 
nice coming in every week and she spent 
every nickel of it on a hilltop house that 
was very swanky to look at. She got some 
publicity, too. 

Doris gave up the house and every- 
thing eventually and just walked out on 
the contract. She couldn't be bothered. 
Now she is sharing an apartment. 

Walking out on a contract is a pretty 
brave thing to do in Hollywood, but 
Doris was rewarded with another one al- 
most right away. First National had seen 
her in one of the small pictures and 
thought she was cute. The first thing you 
know they signed her up. She enjoyed 
playing witii Dick Barthehness a lot. 



82 



Murder and Music 

(^Continued from page 31) 
seemed to inhabit the robust Elizabethan 
as you'll find today — at least in the works 
of the more rancid and despairing young 
playwrights. Jonson, however, treats them 
in a gay and cavalier spirit, for it never 
seems to have occurred to him that man- 
kind was going to the dogs just because 
human beings sometimes acted natural. 
Perhaps that was because the London of 
his day didn't contain anything like 
Greenwich \'illage. 

The result is a gay and irresponsible 
satire, which might very well have l)een 
written by the young sophisticates on the 
AVw Yorker when they felt moved to 
blank verse. It revolves about a wealthy 
old Italian, who pretends to be grievously 
ill in order to watch his presumptive heirs 
squabble about the spoils he may leave. 
As his attendant, Mosca, who conspires 
with them all and miscliievously brings 
various ones to discomfiture, Lunt gives 
another peerless performance. He is an 
imp of Satan who refuses to grow up, a 
very Fetcr Fan of purgatory. 

The Lady That's Known as Lil 

TJ.vi.iKE Willard Mack, Mae West in 
"Diamond Li!" takes her tenderloin 
rather fiercely. The famed or so-so 
authoress of "Sex" has written this melo- 
drama of the Bowery of long ago at the 
suggestion of one of the cast, though ap- 
parently he did not have to make the 
suggestion. 

It (leals with an actual character of ye 
olde-time Chatham Square, called "Dia- 
mond Lil" because she wore a diamond 
filling in a front tooth, though slie appears 
to have had the lustrous purity of neither 
the diamond nor the lily. She lived for a 
hot time now, with the possibility of a 
hot time also in the hereafter. The story 
concerns her lilandislunents upon a Salva- 
tion Army Captain, shuffles mostly 
through tlie sawdust of a dingy saloon, 
and contains most of the things that no- 
body wants around the house — homicide, 
suicide and seduction. Miss West, abetted 
by Curtis Cooksey and some curious mani- 
festations of humanity, acts it with the 
exhaust wide open and perhaps with one 
eye on the police. 

Among the first of the summer shows 
^^ to iiead for Broadway is "Here's 
Howe," a musical comedy which is a good 
deal more stimulating than its time-worn 
tag of a title would indicate. Its giddy 
effect on the risibilities is due largely to 
the cuckoo notes emitted by Don Barclay 
and William Frawley. I might say that 
at times tiie comedians have to give the 
book a good dig in the ribs to startle any 
humor out of it. 

At any rate, even tiiough the libretto by 
Paul Gerard Smith takes a firm stand on 
the veteran story of the ninny who tries 
to get a damaging letter away from an 
eye-rolling vamp, Barclay and I-'rawlcy 
are sufficiently entertaining, so that you 
don't grow bitter about tiie plot. And 
Allen Kearns, that spruce young leading 
man, again proves what a sense of immor 
can do for a juvemle to lift him far above 
tiie animated waxworks class. Irene 
Delroy, a "I-\)llies" graduate, is both per- 
sonable and vocable as his sweetheart, and 
zooming choruses staged by .Sammy Lee. 
and zippy performances by Ben Bernie's 
orchestra of the score by Roger Wolfe 
Kahn and Joseph Meyer, enable the pro- 
ducers, Messrs. Aarons and P'reedley, to 
take another bow for one of their peren- 
nial stable of hits. 



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£)1928 Ray Huff Studios 

The McKee to happiness seems to be parenthood, judging from the expres- 
sion on the faces of both Raymond, Sr., and his wife, once the celebrated 
Marguerite Courtot 

The Living Ghosts of the Screen 

{Continued from page 19) 



and a young boy drove up. He wanted to 
take some pictures. I told him to take 
the house, not me. But pretty soon I was 
in them. He was a young fellow from 
Fresno who had taken a day off from work 
and come down to Hollywood to photo- 
graph me. 

"Yes, I'm happy. Satisfied. No early 
morning location calls. But, of course, 
if I got my price I would make another 
picture. . ." 

There are those who revel in domes- 
ticity. They are glad to relinquish fame. 
Ruth Stonehouse, now Mrs. Felix Hughes, 
sister-in-lavs' of Rupert Hughes, the novel- 
ist. For i'ears she was an Essanay actress. 
Chadwick called her for a picture last 
month. She was thrilled. Back to grease- 
paint. It is incense divine. Back to kleigs 
and direction. In three days she wanted 
to know when she would be through. It 
wasn't like tlie old days. That camara- 
derie was gone. Petty authorities irritated, 
Ruth Stonehouse has returned to her short 
story-writing course, her asparagus souf- 
fles, her half-finished chaise-longue cover. 

"When I feel I must go back to the films, 
I paint a picture," said Ella Hall, lovelier 
now tlian she was in her days of fame. A 
virile landscape in oils on the wall is hers. 
"You can't help but miss what has been 
your life work. And then tliere are Jun- 
ior and Ellen." She is Mrs. Emory John- 
son. "Cliildren demand a great deal of 
attention. But always there is my painting 
as an escape when the longing becomes too 
strong. 

"It is very sweet and touching, some- 
times, to meet those people who remember 
me. At a dinner last niglit, a woman stop- 
ped me on the stairs, 'My dear,' she .said, 
'I didn't think I would ever see Jewel in 
life. And wlien you came in this evening, I 
gasped in amazement.' " Jezi'el was Miss 
Hall's greatest motion picture role. 

Across the street from the shining 
Chinese Theater is the men's furnishing 
shop of Garwood and Johnson. Few mod- 
ern Hollywooders know that Billy — "Smil- 
ing Billy" — Garwood is the famous old 
Tannhouser leading man. Ten years in 
motion pictures. Ten years of leading 
roles. Handsome, grey-haired, he imports 



the latest lounging robes for the Buddy 
Rogers of today. 



'M^ 



Pictures Bored Billy 

fiss my career? Not at all. I was 
bored all the time I was in pictures. 
The stage — ah! there's the thing!" 

Across the street is the shining Chinese 
Theater in the center of Hollywood's 
rialto. Bored, and yet he remains at the 
hub of film things. Funny, this motion 
picture business. 

"And the other day I met Richard Dix 
at Leatrice Joy's party. I was thrilled to 
death ! Imagine meeting Richard Dix !" 
It was Marguerite Courtot, now Raymond 
McKee's wife, mother of little Raymond, 
Junior, twenty-one months old. "Ray 
promised to take me to Montmartre on 
Wednesday. I love to go and see all the 
stars, and have them pointed out to me." 

A complacent, beautiful, maternal ghost, 
this. Glad to give up pictures after years 
of trouping. Glad to be Mrs. McKee in 
a pretty home in Brentwood, close to the 
sea. And tlirilled, truly thrilled, to meet 
Richard Dix. This from a girl who was 
a star once herself. 

And there's K!lmo Lincoln, the Tarcan 
man, the Griffitii actor of the early days, 
who has been kept from the screen by his 
Arizona mine. He. too, is coming back. 
Oh, yes, dickering every day with the pro- 
ducers. You see, they want liim back, his 
fans, his public. But nothing definite yet. 
Nothing to announce at tlie moment. 

Tliese living ghosts of Hollywood. 

Florence Turner, dear Florence, "the 
\'itagraph girl," the first girl to be in any 
film stock company. .'\ diamond wrist- 
watch for national popularity in her vanity 
case. She waits for the studio teK»phone 
call that will give her a few days' work. 
Young-looking and slim, a capable actress, 
a brilliant pantoiniinist. -V striking suc- 
cess in England. One of the veterans of 
.American inotit)n pictures. 

What does she ask ? Stardom ? No. It 
is long since she hoped for tliat. Meaty 
little parts. Character roles. A chance to 
come back. That's all. 

The living ghosts of Hollywood. Was 
it worth it? Sometimes I wonder. 



fi4 



The Life of the Party 

(Continued from page 51) 

of young women's clothes, and laments the 
fact that so many movie actresses arc in- 
clined to dress Broadway when playing 
Park Avenue. 

He won't use a questionable gag in pic- 
tures if he can help it. 1 heard him tell 
one of his gag-men once : "I can't do that 
scene. Last night I took a girl to the 
movies and saw some stuff that made me 
want to crawl under my seat. Kill that 
gag." 

He never makes jokes about religion. 
He goes to church. Vice-president of the 
Catholic Motion Picture Guild of Ameri- 
ca, he has done much to make that organ- 
ization successful in Hollywood. He's a 
master of ceremonies par excellence, and 
is in real demand for openings of new 
tlieaters. At one such premier, he even 
made Buster Keaton laugh. 

He's a Simon Lcgree on the set. When 
he doesn't like the way a scene is going, 
he will jump out of his comedy character, 
pick up tlie director's megaphone, face the 
actors, and have it out with them. Every- 
thing must move fast and furiously on a 
Hines set or he'll know the reason why. 

He's a Puritan at heart, under the mask ; 
he detests more than anything to see 
a woman drink much. He has old-fash- 
ioned ideas aljout girls, home, and marriage. 
His mother was liis idol, and he said 
he'd never marry as long as she lived. She 
is dead — but it is her portrait that hangs 
above the fireplace in the big living-room 
of the Hines house on the hill. A 
numerologist once told him he'd be happier 
single. He seems inclined to believe it. 

He likes kids and dogs, but treats both 
in the same offhand manner. Not long 
ago he picked up a liound that had been 
run over and left to die. He was a 
terrible-looking dog tlien and, after a so- 
journ in the canine hospital whicii cost 
Mr. Hines several hundred dollars, he is 
still a terrible-looking dog. But the 
1-atched-up mutt is now the proud tenant 
of an elaborate kennel, witii an engraved 
collar, and everything. 

Cut Himself a Wrist-Watch 

A CTORS like working for Hines because — 
^^ although he works them harder and 
faster than any other i)oss — they know 
he'll make up for tiie wear and tear sooner 
or later. When the picture is finished, 
several members of the cast are usually 
presented with some small token of appre- 
ciation such as a platinum wrist-watch 
apiece. He likes to make cracks about be- 
ing penurious, but as a matter of fact, he's 
almost prodigal. 

He has i)een associated with the same 
producer for nine years. It's a record in 
the picture business. Johnny Hines and 
Charles C. Burr have worked together 
almost every day in those nine years, and 
they remain partners — and pals. Johnny 
knows the i)icture game inside out. Prob- 
ably more than most actors, he is aware 
of the seating cajiacity of the movie theater 
in Medicine Hat, and he can make a 
pretty good guess at the amount his latest 
picture ought to gross during a week's run. 

He has always made a point of selecting 
ladylike girls to play opposite him. One 
reason for this is that his own taste runs 
that way. Another is that he believes it is 
good business for a comedy to have as 
much high-hat atmosphere as possible as 
a foil for tlie rougii-and-ready action. His 
leading ladies at various times in his career 
have included such thorough-i)reds as 
Doris Kenyon, Billie Dove, Ncjrma 
Shearer, Mary Brian, Diana Kane, and 
Louise Lorraine. 



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ACTRESSES 

A(Ii)ice, Relief 
Asior, Mary 

n.inky, Vilina 
Itasquetti*. l.iii.i 
Bcllainy. .Madfjo 
HoiiUn. Olive 
How. (Lira 
Hrent. Kvclyn 
Hrian, Alary 
Hronson, Betty 
U rooks, Louise 

' Carol, Sue 
Carriill, N.incy 
("dllyer, June 
Claire, Ktlielyne 
Corda, Maria 
('ostello, Dolores . 

Daniels, Belie 
Davies, Marion 
Dana, N'iola 
Day, Alice > 

Dav, .Marceline 

Iv, Dei Rio, Dolores 

jl_ Dove, Billie 

I. Carho, Greta 
(^.(Jaynor. Janet 
h Ciish, Dorothy 
,« dish. Lillian 
.' Criffith, C'orinne 

Joy, I.catricc 

Haver, Phyllis 

Kent, Barbara 

Kenyon, Doris 

La Plante, Laura 
Logan, Jacqueline 



rl Mackaill, Dorothy 
Marchal, ArU-tte 
^,. McAvoy, May 
/cMoore, Colleen 
/^Joran, Lois 
f— NcKri, Pola 
/.-Nissen, Greta 

' ODav. Mollv 
,:0'Neil, Sally 

'■ Pickford, Mary 
, Philbin, Mary 

' Ralston, Esther 
Ray. Allene 
Reynolds, Vera 

Sebastian, Dorothy 
( Starke, Pauline 
(' Shearer, Norma 
Southern, Eve 
Swanson, Gloria 

I Talm.idRe, Constance 
TalmadKe, N<yima 

■ Taylor, Ruth 
Terry, Alice 

' ■ Valli, Virginia 
y Velez, Lupe 
J ; Vidor, Florence 

White, Alice 
Windsor, Claire 
Wray, Kay 

ACTORS 

Acord, Art 
Alvarado, Don 
Allen, HukIi 
Asther, Nils 

Barrymore, John 



Barthclmess, Richard 
Jioyd, William 
Brook, Clive 
VBrown, Johnny Mack ' 
I 
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Cli.'inry, Lon 
Chaplin, Charles 
Cody, I,cw 
Ciilman, Ronald 
Ci/llicr, William, Jr. 
C<ic:gan, Jackie 
Cooper, Gary 
Cortez. Kicardo 
Chandler, Lane 



' De Lacey, Philippe 
Delaney, Charles 
D'Arcy, Roy 
Denny. Reginald 
J)ix, Richard 

■5 j Fairbanks. Douglas 
(^•"airbanks. Douglas, Jr 
, .^Farrell, Charles 
' Ford, Harrison 
Forbes, Ralph 

-Gibson, Hoot 
' Gilbert, John 
, Gray, i.,awrencc 

Haines, William 

Hall, James 
' Hamilton, Neil 

Hanson, Lars 

Harlan, Kenneth 
'^ Htflt, Jack 
' Hoxie,- Jack 
/) Hughes, Lloyd 

■'""jjones, Buck 

""' Keane, Raymond 
- Keith, Donald 



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Kent, Larry 

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La Rijccjue. Rod 
Lease, Rex 
Lewis, George 
Lyon, Ben 

Mcl.aglen, Victor 
Mcighan, Thomas 
Menjou, .\dolphe 
.Maynard, Ken 
Miller, Walter 
Mix, Tom 
Mix, Ti)m, and his 
horse Tonv 
, Mulhall, Jack 

Nagel, Conrad 
- Norton, Barry 
f-J^ovarro, Ramon 

i JForeno, Antonio 

O'Brien, George 

Petrovich, Ivan 
Pidgcon, Walter 

Reed, Donald 
Rowers. Char'cs 
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^ Steele, Bob 
' Stone, Lewis 
■ Stuart, Nick 

Striker, Joseph 

Sills, Miltim 

Thomson, Fred 
Tyler, Tom 
Tearle, Conway 

Valentino, Rudolph 
\'arconi, \'ictor 



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Wouldn't you just know that these smiling Irish eyes and fluffy ballet costume 
belonged to Nancy Carroll? 



For Laughing Out Loud 

{Continued from page 58) 



funny-bone of all classes alike. Why, 
then, do producers continue to insist upon 
ladling out the other kind ad infinitum, ad 
nauseam? Regardless of his other fail- 
ings, a movie producer usually does try to 
give his dear public just exactly what he 
thinks that public wants. 

I puzzled over the answer to that ques- 
tion for a long time myself. Then I had 
it solved for me in a very convincing man- 
ner. I spent nine months last year as a 
scenario writer and gag man with one of 
the oldest and best-known companies in 
the two-reel comedy field. 

During those weary weeks I discovered 
the reason why the alleged humor of the 
two-reelers is in its present deplorable 
state, and also why it has every prospect 
of remaining just about where it is. 

Crudity, vulgarity, and time-worn gags 
are present in the average two-reeler. for 
the simple reason that they are the things 
which most please those people who laugh 
loudest. 

Clocking the Cackles 
"The laugh value of a comedy is judged 

solely by ear. The louder the laughs 
that are evoked, the better the comedy 
must necessarily be. Subtle humor seldom 
inspires guffaws. It produces smiles, and 
even the most beaming of smiles has very 
little effect upon the ear-drum. 

Comedies are made upon a set scale of 
laughs per reel. Laughs are counted by 
dockers scattered throughout the audience 
at the neighborhood movie house where 
tlie comedy is being given a preview. 

A comparatively subtle comedy sequence 
which brings smiles to the faces of most 
of the audience is usually a dead loss to 
the docker. A comedy fall on a banana 
skin, on the other hand, is sure to bring 
a collection of juvenile screams from the 
kids down front, and a couple of booming 
horse laughs from a scattered few of their 
ciders. The natural result is that the 
banana incident stays in the comedy wlien 
it is released, while the more subtle se- 
(|uence is i)roinptly eliminated. 

You can't iilame the producer. He sells 



his product solely on the laughs it brings. 
He is going to rip out the stuff that 
brought no guffaws and hurriedly sub- 
stitute time-honored and sure-fire gags that 
always have brought laughs and always 
will. 

Nor can you blame the director. His 
job depends upon his maintaining the 
laughs-per-reel scale of his studio. He 
will naturally make sure of getting those 
laughs by using the crude and primitive 
gags that have never yet failed throughout 
the years. 

Seeking the Easy House 

A ND, being only human, he will probably 
make matters still worse by seeking 
an easy house for his preview showing. 
The first Saturday night show in a small 
neighborhood theater is the ideal one for a 
comedy preview, particularly if the fea- 
ture picture of the evening is a good stand- 
ard Western. The audience will consist 
largely of kids and one-show-a-week 
adults, with the more sophisticated element 
of the audience in the decided minority. .A. 
holiday spirit is prevalent, and the crowd 
will laugh at anything broad enough. 

The oldest of gags are always new to 
the kids, and will continue to be to each 
new generation. That is to be expected. 
It is also to be expected that such primi- 
tive humor as a man falling down will al- 
ways excite juvenile laughter. 

But it is to the mental reactions of the 
horse laugh adult that we must lay the 
bulk of the blame for the vulgarity and 
cheapness of most two-reel humor. The 
horse laugh and the equine giggle members 
of an audience laugh both loudly and read- 
ily, and it is their laughs that register with 
the producers. 

It is this relatively small class of movie 
patrons whose primitive ideas of what is 
funny dictate the menu of two-reel humor 
that will be served to all the r*st of us. 
And they will continue to dictate that menu 
ju.st as long as they greet with booming 
guffaws and hysterical shrieks tlic stuff 
they like. 



What's become 

of all 

the homely 

women? 

Women simply aren't homely 
any more. You meet plain 
women, yes . . . but their 
smart, trim air is the envy of 
many who are only beautiful. 

In the old days, when a girl 
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frankly informed of the fact 
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Advertising has played a re- 
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It has taught her to use the 
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have been "brought out" by 
methods constantly before her 
in advertising. 

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Looking Them Over Out 
Hollywood Way 



I 



{Continued from payc 61) 

Lupe Is Less Natural 

M afraid some one has told Lupe \'elez 
that she should live up to her billing as an 
exotic type. When Lupe first arrived in 
Hollywood she was as natural and (/amine 
as Maud Fulton's "Brat." But lately Lupe 
has developed pretty little mannerisms that 
hint of "painting the rose." 

So Good to Their Mother 

r\\\Ky: Moore had just seen "Four Sons." 
^^ The next day at the studio a fellow 
player asked him how he liked it. 

"It's a nice picture." replied Owen, care- 
fully and slowly. "All the boys treated 
their mother like a rich old aunt who was 
just about to die." 

. The Din of Log-Roiling 

■yjr/iLLiAM K. Howard, the Irishman who 
" directs pictures like a Russian, is 
through attending premieres and opetiing 
nights. He says you don't get the right 
perspective on a picture when everybody 
breaks out applauding at every close-up. 

"It's like reading a story with an ex- 
clamation point at the end of every sen- 
tence," observed Bill. He said it! 

The Orchid Market 

SPEAKING of premieres, a leading Holly- 
wood florist told me that the sale 
of orchids and gardenias for corsages 
amounted to about two hundred dollars 
every time a picture opened. 
And that's only one florist and one shop. 

"Hamlet" in the Open Air 

CoMKTiME tliis fall John Barrymore is 
'^ going to produce "Hamlet" in tlie Hol- 
lywood Bowl for the benefit of all con- 
cerned. -Already the costumes and scenery 
have arrived from London, and John him- 
self has taken a little flyer to New York 
to confer with expert electricians concern- 
ing outdoor lighting effects. 

As the Bowl seats twenty thousand 
people, tiiis production will be a novelty 
for both the natives and Mr. Barrymore. 
California has never seen Barrymore do 
"Hamlet." and I doubt if Barrymore has 
ever seen twenty thousand people in an 
audience. 

South Seas All Wet 

|V4oNTE Blue is back from the South 
^'* Seas with a lot of iconoclastic yarns. 
Monte says that if the South Sea Islands 
are as romantic as the fictionists paint 
them, then he's an Arab. To hear Somer- 
set Maugham describe it, the tropics are 
one sensuous holiday. They may be all the 
world to Somerset, but they're a hot, 
rainy, wash-out to Monte. In other words, 
they're all wet. 

The High Cost of Sexes 

WHEN D. \V. Griffith first produced 
"The Battle of the Sexes" in 1913 (the 
picture featured Lillian Gish, Owen Moore, 
Bobby Harron and Mary .-\lden), the cost 
was twenty-five hundred dollars. 

Griffith is now re-making the picture 
with Sally O'Neil, Phyllis Haver and 
Joiinny Harron. Phyllis Haver's weekly 
salary is more than the total cost of the 
old film. Before he is finished shooting, 
GriflFith will have spent over five hundred 
thousand in its production. 







Your ideas — your actual experiences — your love story 
— your life story — all have Mclicn Picture value ij 
properly developed. Motion Pictures today arc based 
upon simple ideas — human incidents or experiences. 
Scenario Writers are MADE — not born. Scenario 
Writing CAN be taught. It is not an art— it is a 
business that brings Fame and Fortune overnight. 
The Hollywood Acaden-.y, founded by one of the 
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ture stories. Producers hold contests, offer prizes in 
search for ideas having Motion Picture value. 
We can make vou a scenario writer. Our book. "The 
Key to Hollywood" tells how. Send for it NOW— 
it will surprise you. 

.\pprn-cd as a Correspondence School under the laws 
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The Celluloid Critic 



{Continued 

turning tiie spotlight on the oppressed 
worker and declaring that he must have 
l)ettcr pay and hotter living conditions. 

Rut after the election, the poor worm is 
neglected — and the scenes develop keen 
shafts of satire through the publicity ac- 
corded tlic working man, and the play 
given the tabloids in putting over the can- 
didate. 

Tlicre are touches in the story wiiich re- 
mind me of "Chicago," though the piece 
sparkles with originality. The big point 
ahout tills film is its reality. What hap- 
pens here could reasonably happen — and is 
happcin'ng in any city where candidates 
must strike a pose and adopt a platform. 
It affords Chester Conklin one of his 
greatest opportunities to show iiimself a 
talented actor. There is freshness and 
imagination here. And Allan Dwan has 
done a particularly neat job with his 
direction. In all, it's genuinely diverting. 
Let's have more like it. 

But the Waltz Will Linger 

A GOOD title is 'The Blue Danube" and 
^^ it has a suggestion of rhythm and 
romance about it, but unlike "The Merry 
Widow" it doesn't get anywhere. Invoking 
the name of Strauss' memorable waltz 
hasn't established any of the grace, charm 
and movement of the composition. It's ap- 
I)arcntly used to hang a conventional, ortho- 
do.x plot on — without giving the exjicctant 
ol)scrvcr any cheer. Mucii sentiment drips 
from it and the obvious note is with it 
throughout. It seemingly goes on and on, 
though lifted here and there through the 
very sincere performance of Lcatrice Joy 



T the 

from page 53) ' j^^ 

in her role of the peasant maid wl .^?^^ 
her man by the side, "« '« S > a'^'^^ 
a man who left her to go to war^nd'^. 
double-crossed by a sinister cripple. 

The story doesn't reveal any punch, but 
is staged rather effectively. If your screen 
education is on the up-and-up, you won't 
enjoy it so much. But you should respond 
to Lcatrice Joy. This capable young 
actress deserves better things. 

Just a Picture 

I OVE and liciuor don't make a very good 
mixture unless they arc garnished with 
plenty of trinnnings in the shape of red- 
hot incident, suspense, oodles of action and 
a dash of romance. The picture entitled 
"The Escape" can only be chalked up as 
tolerably fair entertainment. It never be- 
comes dull. It couldn't get that way, not 
when bootleggers and night clubs (to say 
nothing of a hospital) are framed in the 
background. 

It starts off on an interesting scene when 
a young interne, riding the rumble of an 
ambulance, answers a Inirry call in the 
slums. He meets a fair young drudge and 
everything seems rosy-posy between them 
until he gets bounced by the hospital staff 
for loving the liquor too well. So he 
gets a job making hootch in a night club. 

That's ahout all there is to it, except 
the girl of the tenements bobs up as the 
club's hostess. -And after a raid and some 
gun-play everything turns out for the best. 
Virginia Valli and George Ivleeker have 
the principal roles and do well enough by 
them. Nancy Drcxel, a newcomer, shows 
possibilities. 



88 




Futurism need travel no farther, 
futuristic print bathing-suit 



Homnicl 
It has reached its destination in the 
which Mary Brian is wearing 



he 



8h Thar's Gold in That Thar Boy 

{Continued from page 63) 



tc 



1 me if I'd like to try iny band at 

*'ig, I threw up my job and bought a 

Jo' grease-paints. Now I'm whooping 

^p in the midst of the three-ply board- 

ig I sold to Fox." 

"I notice you wear a fifteen-gallon hat 
and a heavy pair of chaps like a veteran," 
I said. "Where did you pick up your 
Western technique ?" 

Chicago Taught Him Cowboying 

"Ci XNV thing, that," he answered. "I've 
* seen ranches and ranch life, but the 
place where I really got my horseback 
education was around the Union Stock- 
yards in Chicago. Both my grandfathers 
were horse dealers there — in a nice way, 
you understand. I guess that kinda inter- 
ested me in the horse, as an animal and 
as a means of transportation. 

"When I got to the wide open West, 
there was nothing anyone could teach me 
about the horse. But I picked up ranch 
life from every angle. Altogether I guess 
I've spent four or five years on different 
ranches in California, Wyoming and Ari- 
zona. DuriiiR that time I went to hundreds 
(if rodeos and showed 'em iiow we rode 
'iin in the great open stockyard regions." 

1 le paused to roH and light a cigarette. 
His brown Ii.hhIs dexterously manipulated 
the tobacco and he was puffing at the hand- 
made in less time than it takes you and me 
to i)ull a tailor-made one out of the 
package. 

"This movie game?" he went on. "Well, 
I've been lucky so far and I stick until it 
turns the other way — tlun I ((uit. I always 
said to my mi^ther that I'd stay in anything 
as long as I was going upward. I was 
doing pretty good in the building racket 
when this fellow at Universal said he could 



offer me some work in 'The Collegians.' I 
was pretty sure I could get back into my 
old business again if the movies didn't pan 
out right, so I threw up my job. I guess 
I must have been lucky, because I've only 
been in pictures a year and I've worked 
practically all the time. 

"You see me now with a five-year con- 
tract to star in Fox Westerns. If the luck 
holds, I'll get along fine from now on. My 
mother, who lives with me here, is tickled 
pink, and says I'm going to be a success." 

Mother and Murnau Are Both Boosters 

IT may as well be added that Mrs. Bel- 
don's aspirations for, and belief in, her 
George are not the mere outpourings of a 
mother's love. There are at least a score 
of extremely lofty and dignified persons 
with no personal interest in Rex Bell who 
avow themselves 100% rooters for him. 
F. W. Murnau, of whom some of you 
little boys and girls who read may have 
heard, is leader of tliem all. The Fox 
people admit that Murnau has boosted Rex 
Bell from the first time a test was made 
of him. 

For the sake of female movie patrons 
the following particulars are worthy of 
note. Rex's eyes are blue, he weighs 165, 
is six feet tall and has crisp, brown wavy 
hair. He's the sort of lad who comes in 
for the appellation clean-limbed. Girls, 
look out for his jolly old Lindy grin and 
see if it doesn't produce an electrical effect 
up and down the spine. 

His first picture is called "Wild West 
Romance." The young lady he clutches to 
his bosom therein is Caryl Lincoln. A 
nice girl, but — breathe again, girls — she's 
married. 




/'« Far West 
and Canada) 



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Will Qreta Qarho 

Be Mrs, Ben Turpinl 

There seems to be little likelihood of it at present. For it 
is understood that the siren of all sirens, including the 
Scandinavian, is intent upon the further pursuit of her 
career rather than upon marriage. 

But you may be sure — on one condition you may be 
sure — that if there is a possibility of the flowering of such 
a romance, you will be the first to know^ about it. 

And that condition is simple: it is that you are a reader of 
MOTION PICTURE MAGAZINE. 

For this is the one publication w^hich keeps in the closest 
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It is the one magazine of the screen in a position to know^ 
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And therefore the one periodical of its sort w^hich inter- 
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Vol. XXVII 



AUGUST, 1928 



No. 6 



Notable Features in This Issue: 

OVERTIME ACTING Marquis Busby 16 

ROBBING THE CRADLE Dorothy Spensley 18 

THE LOWDOWN ON DIVORCE Elisabeth Goldbeck 23 

THEY ALSO STARVE Herbert Cruikshank 26 

DO WOMEN RULE THE MOVIES? Dorothy Calhoun 30 

HOT HEARTS AND FLOWERS Henry W. Hanemann 48 

The Classic Gallery : 11-14 

Laura La Plante, Blanche Sweet, Leatrice Joy, Edmund Lowe 

Pictures and Personalities George Kent Shuler 15 

Trying Out the Clutch — picture page, LiLi damita and Ronald colman 20 

What Hollywood Did to Pola Gladys Hall 21 

Beggar and Better — picture page, louise brooks 22 

Hollywood Horrors — cartoon h. o. hofman 24 

N<ze Baby End De Baby Stozz Dorothy Donnell 25 

Ruffled and Ready — picture page, madce bella my 27 

How to Tell Clara from Sue Ann Cummings 28 

Vaughn and Off — picture page, alberta vaughn 32 

A Bill in a China Shop Herbert Cruikshank 33 

Two Kinds of Barkers — picture page, milton sills 34 

Secret History of the Month 35 

A Professor of Passion — picture page, "loves of casanova" 36 

The Divine Lady Herself Frances Carpen 37 

A Courtly Gentleman — picture pages, JOHN gilbert : 38 

The S97 Masterpiece Edith Torrent 40 

Incendiary Mary — picture page, MARY duncan 41 

Bonenalabahmah Carolyn Daivson 42 

Oh, for the Life of a Porter! — picture page, Josephine dunn 43 

Classic's Family Album — picture page, GEORGE Bancroft 44 

So This Is Lois — picture page, lois moran 50 

Don't Call Him Buddy (caricature hy A7-mando) Carol Johnston 51 

The Sub-Divided Skirt — picture page, DOLORES costello 54 

Don't Be Yourself Hal Hall 55 

Backbones of the Industry — picture pages 56 

As Nice as She Looks Cedric Belfrage 58 

Magnetic Steele — picture page, bob Steele 59 

The Home Stretch — picture page, vilma banky , 62 

Eddie Props Up Grace Kingsley 63 

Audrey Ferris — picture page 64 

The Classics Famous Departments 

They Say — Letters from Classic readers 6 

Our Own News Camera — The film world in pictures .'. , 45 

The Celluloid Critic — Some cur-rent films in review Laurence Reid 52 

Looking Them Over Out Hollywood Way — Newsy close-ups Dorothy Manners 60 

The Answer Man 74 

Cover portrait of Marceline Day by Don Reed from a photograph by Ruth Harriet Louise 

Laurence Reid, Editor 

Colin J. CruickshanL, Art Director 
Classic comet out on the 12th of every month. Motion Picture Magazine the 28th 

Subscription $2.50 per year, in advance, including postage, in the United States, Cuba, Mexico and Philippine Islands In Canada $3.00; Foreign 

Countries $3.50 per year. Single copies 25 cents postage prepaid. Lnited States Government stamps accepted. Subscribers must notify us at 

once of any change in address, giving both old and new address. 

Published Monthly by Motion Picture Publications, Inc., at 18410 Jamaica Ave., Jamaica, N. Y. 

Enttrtd at thi Pott Ofic* at Jamaica, N. Y., as $teond-clais maltir. undtr tkt act of March 3rd, 1S79. Printed in U. S. A. 
Georfe Kent Shuler, Prtsidtnt and Treasnrtr; Duncan A. Dobic, Jr., Vict-Presldtnt; Murray C. Bernays, Stcrttary. 

EXECUTIVE and EDITORIAL OFFICES, Paramount Building, l.SOl Broadway, New York City 

European Afentt, Atlia Publishing Company, 18, Bride Lane, London, E. C. 4. 
Copjritkt, 192S, by Motion Picturi Publications, Inc., in tkt United States and Great Britain. 



1 




Letters from Classic Readers 



$15.00 LETTER 
Heroines, Be Yourself 

Dear Editor : 

WE confess to an intensely human 
capacity for coining thrills from 
TNT modes of screen love-making. 
What puzzles us, however, is why hero, 
desperado or whatnot continually handles 
the heroine. 

We swallow jungle or mystery play, 
hair, hide and tallow. Wrong, right or 
rhythm. Whole or minor detail. But why 
(despairingly) cannot perfectly good 
American women get over ground, through 
haunted habitat, or experience strong 
emotion without conquering hero, , affec- 
tionate cousin or sympathetic detective 
always on the job to fondle her? 

Possessing perfectly good "understand- 
ings," s' he'p us, Hanner ! if ever we're 
caught in a jungle- jam or intimate juxta- 
position with murdered or improvised 
spooks we'll use 'em. In such situations 
we'd require legs pure and simple. If 
gallant male desires to aid, let him 
lift us bodily and — RUN I not tenderly 
retard. 

Today's good sport retains her senses in 
a crush — no need of apron strinofs. With 
ability under her "permanent" to manage 
the average male, she'd stand up to any 
mere spook. 

We glory in improbable situations — 
crave dilemma and romance a-plenty. But 
desire no vacillating heroin- to be propped 
by a hero vvho, goodness knows, has ado 
to handle the situation. All we ask is a 
heroine to, in present parlance, 
"be herself." 

Elsie R. Glover, 
Johnson City, Tenn. 

$10.00 LETTER 
On "The Street of Sin" 

Dear Editor: 

"T'he Street of Sin," which 
has as its locale the tawdry 
slums of London, impressed 
me more than any of the pic- 
tures I have seen for a long 
time. This may in a way be 
due to the fact that I con- 
Nsider Emil Jannings the 
greatest character star of the 
screen. 

You will also agree with me 
that Jannings is the genius of 
the screen if you will take 
into consideration some of his 
previous accomplishments — 
"Faust," "Variety," "The Last 
Laugh" and "The Way of All 
Flesh." 

You can't help liking him and 
admiring his excellent por- 
trayal of the role of Bill in 
"The Street of Sin," even 
though he is a brutal ex-prize- 

6 



fighter who bullies everybody in the ugly 
district with his strength. 

You limit me to two hundred words, but 
before using up my allotted number, I am 
going to take advantage of this opportunity 
to give due praise to two female members 
of tlje cast of "The Street. of Sin." First 
to Fay Wray, who plays the leading female 
role of a Salvation Army lass who is the 
cause of Bill's reform, and to Olga Bak- 
lanova, who plays the part of Annie, a 
girl of the streets. All excellent por- 
trayals. F. A. N. 

$5.00 LETTER 

Consider the Boy Friend 

Dear Editor : 

TTT^HAT price the boy friend? Though he 
toil and spin to buy us movie tickets, 
he is not arrayed — emotionally — like one of 
these — meaning the movie hero. 

We feed upon sentimental goulash 
served A la the silver screen and when our 
boy friend fails to come up to our trained 
expectations, we feel he is just too ordinary. 
We feel cheated, and perhaps we are, psy- 
chologically. Through years of movie 
tutoring we set our standard, and the 
decent young chaps who court us dnd 
marrj' us never swoon back while they 
gaze rapturously into our. eyes for so long 
a time that the flies would be apt to settle 
on our sweet expression. They don't do it 
that way at all. Not any of them. Ask 
any girl, married or single. Men have 
neither instinct nor talent to look soulful. 

As much as I enjoy the movies, I feel 



they are in this respect setting a false 
standard. I would suggest that there be 
less wasted effort in providing extravagant" 
exotic settings and spectacular emotional 
flubdub ; what the movies need is to park 
their orchid negligees and soulful trances 
and reflect life as we live it. 

Yours very truly, 
Eva L. Dunbar, Oakland, Cal. 

$1.00 LETTER 
They're Not Related 

Dear Editor: 

T AM wondering why pictures bear no re- 
lation to the stories from which they are 
taken. "Love," with John Gilbert and 
Greta Garbo, is one of the finest movies 
I've seen in a long time, and the acting 
was perfect, but I went to the show with 
the story of "Anna Karenina" flashing 
through my mind, actually living through 
the parts I admired most, and I must 
admit I never would have recognized it 
as the same, but for the names of the 
characters. 

If this picture had been advertised 
simply as "Love," I would have stretched 
a point to see it just the same, because the 
title is attractive, and the players can not 
be criticized, but I feel sure you can 
realize how keenly my disappointment was 
when the difference was so great. 

The American public is hard to please, 
and demands full measure of everything, 
so let us hope in the future pictures run 
true to the stories from which they arc 
taken. 

Mrs. Max Barnett, New Orleans, La. 



$1.00 LETTER 
Anent Gloria's "Sadie" 



We Want to Know 



What you think of the movies and the stars. This page 
is devoted to Classic's readers, who are invited to write 
about their impressions of the pictures and players. Be 
as brief as possible, as letters must not exceed 200 words. 
We also suggest that you be entirely fair in your views. 
In other words, Classic would like to receive construc- 
tive criticism or arguments about the productions and 
performances. 

Fifteen dollars will be paid each month for the best 
letter, ten dollars for the second, and five dollars for the 
third. Besides these three prices, we will also pay one 
dollar for any other letters printed. If one or more 
letters are found of equal merit, the full prize will go 
to each writer. 

Anonymous letters will not be considered. Sign your 
full name and address. We will use initials if requested. 
This is your department. We want you to take advantage 
of it. Letters must be addressed: The Letter Box, 
Classic, Paramount Building, 1501 Broadway, New York. 



LAST January, Classic let 
■« me "tell the world" how 1 
was most terribly perturbed 
about the rumors that "Rain" 
was to be filmed without the 
good old fighting minister sin- 
dodger. Since seeing the fin- 
ished picture, I have had the 
desire to say something laud- 
able, but the "whips" of the 
gods seemed to thrash me nigh 
insensible when I strove to 
place my thoughts in proper 
words. It is so easy to "pan." 
I want to say that I appre- 
ciated Gloria Swanson more 
in this picture than I have in 
any that she has ever ap- 
peared. Lionel Barrymore as 
the reformer fully satisfied 
my anxieties. With courage 
and brains she made a pic- 
ture of which she can well be 
proud. 

Yours truly, 

J. H. Engbeck, 







1 » 







i^^ 





^i^^ 



v^ 




1 



TViCHTSTiCK," adapted from the stage 
success of the same title, will be 
' directed by Roland West for United Art- 

ists. It is an 1 underworld story in which 
the point of view of the police instead of 
the criminal will be stressed. 

'T'he next co-starring vehicle with Lew 
Cody and Aileen Pringle will be "The 
Single Man," by Hubert Henry Davies, 
which Metro-Goldwyn-Mayer has just pur- 
chased. Anita Page has a featured role 
in this picture. 

Caclanova, who has just signed a long- 
term contract with 
Paramount, will be 
Emil Jannings' leading 
woman in "§ins of the 
Fathers." This is her 
first actual lead oppo- 
site Jannings, although 
she played in his "The 
Street of Sin," in which 
Fay Wray had the lead- 
ing role. 



Christie feature productions, which will 
be a light comedy from the story by 
Alfred A. Cohn, "The Carnation Kid." 



borrowed from Universal to play opposite 
him. Victor Seastrom will direct. 



Paramount has assigned Florence Ryer- 
son, scenario writer, to adapt the mys- 
tery story, "The Canary Murder Case," for 
the screen. The detective role of Philo 
Vance will be played by William Powell, 
his first starring picture. 



'V\/'hen Norma Shearer and Irving Thal- 
berg were vacationing in Europe, they 
met Eva Von Berne, an eighteen-year-old 
Viennese society girl, and recommended 
her as good screen material. Miss Von 
Berne's recent arrival in New York with 
a Metro-Goldwyn contract is the result. 



Joseph Schildkraut has been selected 
to play the role of Gaylord Ravenal in 
"Show Boat," the moving picture version 
of Edna Ferber's novel. 



pAUL Fejos, the director famous for his 
shoestring production, "The Last Mo- 
ment," will direct "The Charlatan," in 
which Conrad" Veidt 
will be starred. 



"A LIAS Jimmy Valen- 
tine," the story of 
the noted crook, will be 
William Haines's next 
starring vehicle for 
Metro-Goldwyn. 



"JJis Wife's Affair" 
is the new title 
for Billie Dove's star- 
ring picture now in 
production. It is based 
on the stage success of 
a few years ago, "In 
the Night Watch." 



T JONEL BarRYMORE 

has been signed to 
a long-term contract by 
Metro-Goldwyn, and in 
all probability will be 
seen and heard in 
Metro's first talking 
picture. 




'p.HE latest rumor on 
iMichael Arlein's 
"The Green Hat" is 
that Metro-Goldwyn 
has acquired the screen 
rights to it and that 
Greta Garbo may get 
the role of Iris March. 



Janet Gaynor is due 
to begin work on 
"Kitty," the picturiza- 
tion of Warwick Deep- 
ing's novel. 



J~\oROTHY Sebastian 
will have the lead- 
ing feminine role op- 
posite Tim McCoy in 
his next pictu re, 
"Morgan's Last Raid." 



P. & A. 

Here they are, all aboard the City of Honolulu and all bound for Hawaii. 

From left to right they are James Cooley, Norma Talmadge's uncle. Norma 

herself, her mother, Mrs. Margaret Talmadge, and Gilbert Roland 



Jeanie McPherson 
is working on the 
scenario "The Fall of 
Rome" and, from the 
looks of things, it will 
be Cecil B. De Mille's 
next personally di- 
rected picture. 



"'p HE Scarlet Woman," 

a drama of Russian life starring Lya de 
Putti, is Alan Crosland's first production 
for Columbia. This means that Miss 
de Putti is again playing the vivid charac- 
terizations which first brought her into 
prominence. 



T^HE Hungarian director, Alexander 
Korda, has been assigned to direct 
"The Squall" for First National. 



Universal assigned a 
leading role to 
Kathleen Collins in "The Ridin' Demon," 
which stars Ted Wells. 



"T^HE River Woman," a 
Mississippi levees, will 



story of the 
have Jacque- 
line Logan and Lionel Barrymore in the 
"Qaptain Swagger," a Hector Turnbull leading roles. It is a Gotham production, 
production, is Rod La Rocque's next 



'The Tiffany-Stahl picture, "The Naughty 
■*■ Duchess," will have Eve Southern as the 
star and H. B. Warner, Gertrude Astor 
and Martha Mattox in the cast. 



Pathe vehicle, 
leading lady. 



Sue Carol will be Rod's 



Phyllis Haver will play a wastrel of 
the wharves and Alan Hale the role 
of a rough sea captain in Phyllis' next 
picture, "Singapore Sal." 

JJuth Eider, the trans-Atlantic flight 
heroine, will be leading woman to 
Richard Dix in "Moran of the Marines," 
glorifying the American leatherneck. 

1\/T*RSHALL Neii.an will direct the first of 
the Douglas MacLean Paramount- 



J3oY D'Arcy has been signed to play the 
heavy in "The Last Warning," Uni- 
versal's picture starring Laura La Plante. 

JJer contract with First National having 
expired recently, Mary Astor signed 
a three-year agreement with Fox. Her 
first picture under her new contract will 
be "Dry Martini," directed by Henry 
d'Arrast. Matt Moore, Sally Eilers and 
Jocelyn Lee are in the cast. 

Production has just started on "The 

Devil's Mask," John Gilbert's next for 

Metro-Goldwyn. Mary Nolan has been 



T^HE film version of Owen Davis' play, 
^ "The Haunted House," is now in pro- 
duction at the First National studios. 



tJucK. Jones is producing his own pictures 
*-* now. He wiU make "The Big Hop," 
by B. J. Mack, as the first vehicle under 
this new arrangement. 

J AMES Murray has been loaned to Uni- 
versal by Metro-Goldwyn to play the 
lead in William Wyler's "The Shake- 
down," A story of the prize ring and 
back stage. He will have Barbara Kent 
and Mary Nolan in the principal feminine 
roles opposite him. 



The Biggest Hits of 1928-1929 will be PATHE HITS — Watch for 
Announcements at the Best Theatres. 



Pathe 

HERALDS NEW PROGRAM 
OF DE LUXE FEATURES 

T^HE season of 1928-29 will find Pathe taking the lead on 
the screen with the greatest output of pictures in its 
history. The famous rooster trademark, known to every 
picture fan in the world, will be your guide for the best in 
entertainment — the finest authors, the most popular stars, 
the most colorful and intriguing stories. 

Two Tremendous Specials Coming Soon 





William Boyd 

"THE COP 



♦f 



tcith ALAN HALE, JACQUELINE LOGAN, 
ROBERT ARMSTRONG and TOM KENNEDY 

4 DOSALD CRISP Production 

Screen Play by Tay Carnett from the story 

by Elliott Clawson 

Ralph Block. 4»aociatf Producer OeMiUe Studio Production 



A 



A 



thrilling melodrama 
set in a section of New 
York's West Side where 
there are too often guns 
on hip pockets, and yet 
where there are many 
heartsofgold. Remember 
the screen team that 
made "Chicago" a sen- 
sation — Haver and 
Varconi ? Here they are in 
another story of romance 
in the underworld. 



44 



4* 



Tenth Avenue 

Phyllis Haver 



VICTOR VARCONI and JOSEPH SCHILDKRAUT 

4 WILLIAM C. deMILLE 
production 

From the stage play by John McGowan & Lloyd Griscom 
Continuity by Douglas Doty 
DeMILLE STUDIO PRODUCTION. 



big, human drama 
built around the exciting 
adventures of a "rookie" 
cop on his beat in a great 
city. Bill Boyd as the 
guardian of the law who 
gets his man. You must 
see the picture to find 
out whether he gets "the 
girl.'* 






..^\ 



i 



Pathe 



Watch for Amazing New R. C. A. PHOTOPHONE musical and ejfect 
accompaniment on certain forthcoming PATHE FEATURE PRODUCTIONS. 



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■'i! 




Laura La Plante 



K<is«ell Ijall 



Coals to Newcastle ceases to stand supreme as a sym- 
bol of superfluity. For someone has gone and chosen, 
for Laura's next screen story, a thriller 






--"•^-v-^ 




New to her is Blanche Sweet's coiffure in the larger 
picture and the outcome perhaps of her intention 
to put on "The Green Hat." And <iow, because the 
color wasn't becoming, or something, she's going to 
appear next instead in "A Woman in White" 




R. H. Louise 



Leatrice Joy 



In "The Bellamy Trial." We wish first to charge her formally 

with wilfully and knowingly making jury duty a pleasure. 

And then — forthwith and from the evidence here manifest, to 

declare her guilty 



Strgis Alberts 



'r'.^iM/.'5';,_i';i. -y 



vertime 

How the Screen's Peerage 

Scenes for 




They are, beginning at 
the top, Jetta Coudal, 
, . Corinne Griffith, Leatrice 

Jj^^ "^ ""■'t, \ 3oy\ Madge Bellamy, 

^K -' Pola Negri, Eve South- 

^HLk . ^ itn, and Charles Chaplin 

^r "TTF THEK the camera stops grinding, does the 
\^ leading lady stop acting? 
She does not. 

These lovely stars of the screen firmament, whose tears 
course down their cheeks in gentle streams while the 
orchestra plays "Hearts and Flowers," do not confine their 
histrionics 'to the studio. 

Some of their best dramatic work is done while an 
interviewer is present. For some reason, the stars, par- 
ticularly the feminine of the species, have always insisted 
upon looking on interviewers as gullible innocents. 

They set the stage for an interview as carefully as Flo 
Ziegfeld builds up Marilyn Miller's first entrance in a 
musical show. 

Clara Bow, for instance, is pretty good at that sort of 
thing. Poor Clara, usually so frank, has had some sad 
experiences with interviewers. She would be just herself 
and then when the interview appeared there would be 
some uncompHmentary things said about her. 

16 



So, of late, Clara has been posing just 
a little bit for the writers. The last time 
I saw her she insisted that Papini's "Life of Christ" 
simply thrilled her beyond words. 

Just to make a thoroughly good job of it, this flaming 
youth told me very earnestly that she hadn't been inside 
of a cafe for more than a year — that she would far rather 
take a ride in an open car with just the "lovely stars 
overhead." 

If anyone but Mary Pickford had said this, I would 
have considered it a good piece of acting and probably 
burst into applause, but Mary has the reputation of being 
the soul of sincerity. 

The conversation had drifted to death and the life here- 
after. It was one of those cold, drizzling winter days, so 
the topic was more or less in keeping with the elements. 

Mary as a Cloud 

"VY/hv should people dread death?" Mary asked. "It 

'^ must be a beautiful experience. I hope that in the 
Hereafter I will not be hampered with a body. I would 
like to be a fleecy cloud, or just a rose-colored light." 

Harold Lloyd and Mildred Davis have a big house in 
Los Angeles,, but plans are afoot for a very grand castle 
on a hilltop. It is to be staggeringly expensive and as 
huge as a state capitol building. 

So mammoth is everything to be that Harold and Mil- 
dred are beginning to be worried, for they are essentially 
home folks. Mildred expressed her fears somewhat 
naively not long ago. 

"Now I think forty-seven rooms and twelve baths is a 
little too large for a home, don't you ?" 

Then she affirmed positively that she wouldn't mind 



cting 



Stages Elaborate 
Interviewers 




a six-room cottage and doing her 
own work. 

Quite likely there have been more adjectives 
used to describe Pola Negri than any other woman 
in Hollywood. She has been called the cleverest 
woman in pictures, the most dramatic, the most 
colorful, the most tempestuous, and a whole lot. of 
other mosts. It may be that all these things are 
true, but, above everything else she is a great 
actress. Her whole life is a long play, and Pola 
loves it, especially the handkerchief scenes. And 
Pola from Poland is always good for a "heart 
interest" story. 

■'Ah, no one has had more tragedies in life than 
I." she sighed. She was telling of the first meeting with 
Prince Serge Mdivani, who later became her husband. 

"It was one of those moments when life seemed dark- 
est — when every hand seemed turned against me. I was 
a lost ship on a great sea. Now -it means so much not to 
be alone. I used to return from the studio to my lonely 
house. It was empty, just like my life." 

Doug Is So Playful 

r^ouG F.MRBANKS never tired of creating the impression 
'-^ of being ever the athlete. You will get him ensconced 
safely in a chair for an interview. By the time you are 
around to the first que.stion Doug, in all likelihood, will be 
chinning himself on the chandelier, or playing leap-frog 
with the furniture. 

Eve Southern, the madonna-like young lady who 
created such a favorable impression in "The Gaucho," is 
just tremendously mystic. She has convinced herself. 



From left to right : 
Mary Pickford and 
Douglas Fairbanks, 
Clara Bow, Greta 
Garbo, Elinor 
Glyn, John Gil- 
bert; and above 
hini: Harold Lloyd 
and Joan Crawford 



and expends considerable energy in trying to 
convince others, that she is the reincarnation 
of Mary, Queen of Scots. She will interrupt any con- 
versation to receive thought waves from the lady who 
had such a messy death back in the Middle Ages. Perhaps 
Eve got the idea from Theda Bara. Theda, at one time, 
was the high mystic of Hollywood, the reincarnation of 
Cleopatra. 

Corinne Griffith once staged a very pretty little prologue 
to an interview. 

After being permitted to sit for the correct few 
moments in her lovely, if a bit stiff drawing-room 
(Corinne is a collector of antiques), I was treated to the 
spectacle of that luscious lady strolling in from her 
garden, hat in hand, in lovely unconsciousness of an on- 
jooker. It was a charming picture as she paused at the 
French doors — just long enough for the effect to register 
properly. 

(Continued on page 79) 

17 




y^bbin 

If They're Big Enough, 
Hollywood's Love 



By Dorothy Spensley 



GOODNESS knows, I'm broad-minded. I've 
seen "The Captive" and can still look a violet 
in the face without turning neurotic. Or even 
blushing. And tolerant. My dear, I simply 
love to go around and shake hands with the grips and 
props and electricians, like the best of the stars. After 
all, I am of the {people. Lowly and all. 

And when it comes to understanding, I am just ne 
plus ultra. Whatever that means. 

But there's one thing that I can't fathom. And 
neither could you. And you. And you. And you. 
And you. 

It's this awful epidemic of cradle-snatching that has 
struck Hollywood like a plague. It's pernicious. Posi- 
tively. 

As I was telling Aunt Sophronia the other day, "It's 
pernicious," I said, just like that. 

And Aunt Sophronia answered, "Is it?" 

She's awfully intelligent. I mean, she thinks in a 
big way. She used to design tents for circuses. 

Aunt Sophronia is the one who said, "My, Hollywood 
must be a nice clean town. I see by the advertisements 
that all the girls use soap." And that, in its way, is 
rather immortal.. 

Aunt Sophronia is always giving us verbal surprises. 
Like the other day she came in from her day's work at 
the foundry, she's designing manhole covers now, just 
as L'ncle Orlando was about to kill a spider. 

"Don't, Orlando!" said Aunt Sophronia. "It might 
be Lon Chaney." 

Laugh? I Thought I'd Die ! 

"Vou know, original little bon mots like that. We 
'• laugh every time we think of that one. So you can 
see that Aunt Sophronia really has what you might call 
a scintillant wit. 

But this acute attack of robbing the cradle. 

I had thought of going to the Chamber of Com- 
merce, but their statistics are mostly on oranges and 
how two can live as cheaply as four. What I wanted 
to know was who signs the check when a stylish stout 
takes a sophomore to tea. Or a thrillingly thin thirty 
goes a 'Varsity dragging with a Hollywood High 
School junior. 

I might have gone to Will Hays's office in the Guar- 
anty Building, but I've been afraid of elevators ever 
since that one fell at the World's Fair in Chicago, and 
there I was, planning to take a ride in it the very next 
day. I mean, isn't Fate the most curious thing? 

And then, too, I want to know what's to be done 
about it. If Claire Windsor keeps going out with 
"Buddy" Rogers, what are little girls like Mary Brian 



19 




the 



They're Old Enough 
Pirates Claim 

Illustrations By Eldon Kelley 



and Fay Wray going to do? And no wonder poor 
little Sue Carol has to go dancing with a grey-top like 
Charlie Chaplin. There are no young boys left to 
step out with by the time eight-thirty comes and Ona 
Brown and Virginia Valli and Claire are all dated, and 
Gilbert Roland has taken Norma Talmadge to the 
concert. 

It's got me worried. I can't sleep nights, thinking 
about it. I'm going to start taking yeast tomorrow. 

Of course, you will argue that it's an old French 
custom. And so many Frenchmen couldn't be wrong. 
I know all about young \'oltaire. I should say I do. 
When he was only in breeches he used to sally around 
at Ninon de L'Enclos' salons. And Ninon was po 
youngster. No, siree. But she knew her pate de foics 
gras and her consonants. Not to mention her vowels. 
And that'll help a woman anywhere. X'owels, those 
pesky little rascals. How many times they've been 
useful to me. Have you ever tried hanging pictures on 
them? Or stewing them with white sauce? 

But, no! You're going to bring out Josephine. She 
who later turned out to be Empress of France. Wben 
Napoleon was running around Sicily in short panties, 
Josie was curling her bangs into beau-catchers. So you 
might as well take off that black mustache, I recognize 
you. You,- too have been reading Emil Ludwig. 

I'll be generous and long-suffering and forgiving. 
I'll even help you. What about Helen of Troy? I'll 
ask you. Wasn't Paris green and young? And Helen 
certainly was no spring dryad. You can't fool me. 
I've seen the film. 

The Widow of Windsor 

P\on't you dare say it's all Greek to you. I couldn't 
'-^ .stand that. After all, haven't I suffered enough 
trying to figure out that if Buddy Rogers is twenty- 
two and Charlie Farrell is twenty-three — that makes 
forty-five; and why is Claire Windsor so radiantly 
beautiful in that new delirious shade of orchid-plum? 
AnO isn't it nice for little Billie, that's Claire's ten- 
year-old son? My. how the years do skitter by. 
While Buddy's waiting to take Claire to the latest 
hop, Billie and he can play at top-spinning or stage a 
kiddy car race. Or whatever it is that boys of that 
age dote on playing. 

These gay, gay enchantresses. Consider Ona Wil- 
son Brown. It's got me absolutely dizzy keeping track 
of her. Luncheon at Montmartre with one plus-foured 
youth, or maybe two; tea at Cocoanut Grove with 
another. Dinner at the Hotel Roosevelt with a third. 
No wonder I'm dizzy. Pain in the back, spots before 
{Continued on page 78) 




V' 



' I ' 



% 



19 





Tying Out 



The Clutch 



E. B. Hesser 

The beginning of a beautiful 
Frenchship — on the screen. Lili 
Damita, from Paris (need we say 
not Paris, Kentucky? ) , and Ronald 
Colman essay a practise start in 
preparation for forthcoming love 
scenes 




the Lowdoivn 



/^^ 



^ Divorce ^ ^ 



Woodbury 



Jaime del Rio, Dolores' 
divorced husband 



Dolores del Rio 
Endorses an Old 
American Custom 

By ELISABETH GOLDBECK 



Edwin Carewe, ber discoverer 



and director 



TWO years ago Dolores del Rio, her husband's arm 
about her, said with very genuine dismay. "I think 
the mos' horrible thing in American life is di- 
vorce. I don' understan' ! How can people do it ?" 

But even as she spoke, divorce was beginning 
its insidious work. Dolores could hardly speak 
English then. Yet already she was acutely aware 
of divorce. It was one of the first English words 
she learned. And the germ had been planted in 
her protesting mind. 

Jaime del Rio warmly echoed her sen- 
timents — or rather, she echoed his. For 
in those days Dolores was a docile wife 
who thought what she was told. And so 
they were very happy. 

It took just a little over two years for. 
the germ to develop. 

The other day Dolores, vivid, buoyant, 
and immensely articulate, cried, "I have 
just gotten a divorce, and I have never 
been so happy I" 

A continent lay between her and her 
husband. 

She stood in the sun, in the brilliant, 
careless costume of a gypsy. As she 
talked, her rich coloring and lively ex- 
pression reflected the lightness of her 
heart. 

She forgot that she was just as happy 
two years ago — but for different reasons. 
That was before .she knew anything 
about emancipated women. Before she had 
known the intoxication of celebrity and adu- 
lation. Before unsettling triumphs had en- 
couraged her ego. Then she was content to be 
what she had been since the age of fifteen — 
the beautiful and obedient wife of a Latin 
husband. 

This delightful state of things continued for 
some time after Edwin Carewe brought her to 
Hollywood as his pet and particular discovery. 
Jaimie was then absorbed in the career that 
was in store for his wife.. He left his work 
and came to Hollywood with her. He hovered 
about her, interpreted her thoughts (which 
were his thoughts), extolled her charms. He 
vould talk for hours of the way she photo- 




graphed, the special quality of her skin, the types she 
would like to play, all the details of her screen life. He 
was all interest and solicitude. And he talked 
lightly of divorce, as something he regarded with 
disfavor, but which was so far outside the sphere 
of his own life that it could be looked upon 
tolerantly. 

Scrambled Families 

P\OLORES observed it with more 
•^ horror. "Why," she in.sisted. 
"everyone in America has been di- 
vorced two or three times ! Their 
children have several different fathers. 
They are all mixed up! I want to 
know how the women feel when they 
meet the men they were married to. 
How they feel toward the women their 
husbands marry. And how the chil- 
dren feel toward all their different 
parents. I jost cannot imagine doing 
such a thing!'' 

She was determined to sift the matter 
to the bottom, and had already begun 
to make extensive research among the 
divorcees she had met. What appalled 
her sensitive Latin soul most of all was 
that no one seemed to mind in the least 
being questioned on this delicate topic. In 
fact, they rather insisted on discussing it. 

When' I talked with her the other day, she 
didn't wait to be que.stioned. but poured out 
the story of her own divorce in a torrent of 
eager words. 

"How changed I am ! I am a different 
person entirely. I have given up all my old- 
fashioned ideas and have become just like an 
American woman !" She clutched her 
stomach. "Not only myself, but even my 
stomach has changed completely. When I 
first came I couldn't eat American food. 
It seemed tasteless, and didn't satisfy me. 
But I learned to love it. And now when I 
go to a Mexican restaurant, the food — 
my own food ! — makes me terribly sick !" 
(Continued on page 72) 

23 



Kussell Hall 




John Gilbert 
Overhears Him- 

ORRORS SELF Mistaken 

FOR Jim Tully 




3cihy 



End De 

Bahy Stozz 

Witt Blonde Hair de 
Mettresses Are StofFed in 
Hollywood, end de Vemps 
Get Ahead by Decrees 



As told by MiLT GROSS 
to DOROTHY DONNELL 



DO I like Hollywoot? Dunt esk ! 1 
guess you didn't hoid I got my vife end 
keeds end sisters from the law witt me ! 
I should tell how I like Hollywoot with them 
maybe reading it by the peppers. Trouble a 
man dunt esk for, ain't it? Alretty it could 
come to me plenty trouble. Yasterday when 
I come off de stoodio my vife sees by my coat 
a lonk blonde hair, God forbid ! "In Holly- 
woot" I tell her "even de hair mettresses got 
made from blonde hair." 

Womans is queer. I bet you der prehys- 
terical womans raised a holler when der cave 
mans come inside from de house witt their 
club all covered from hairs, and yalled at him 
if he had been beating up some odder hussy 
instead of his lawful vife! 

Somebody nidds it should be spoiling me 
de treep bringing de femly alonk, dot their fare 
by de tren de stocdio was paying end de itting 
en de dining car, end de slipping en de boits 
It ent costing by me a cent. I should lost all 
that free itting for my vife end keeds end 
sisters from the law, even if they got noivous 
indigesture itting so fast as sixty miles from 
(le hour. 

It stends here like this. De stoodio 
likes better a writer dunt come to Holly- 
woot by himself and maybe forget 
what he was here for. Soch a tings 
what it heppens ! Some writers from 
Xew Yoik think they should draw 
their selleries for drinking high- 
balls all night end knocking tennis 
balls all day. Nachally if their 
femlies they bring witt them 
they dunt have a goot time, 
God forbid ! They dunt go 





onto Hollywoot parties by de 

rectors end ectresses' houses. End 
maybe they will write a movink 
peetcher. 
Soch a soft snep these writers 
got in de moofies, beleef me ! Al- 
ready I been here fife days end I 
dunt do any woik yet, end tomor- 
row is a haliday. De oily boid 
gets treated like a woim in Holly- 
woot, so de writers from scenarios 
dunt stick in from de office door 
de head till noon, end then they 
got to go right out to lunch, ain't it ? Bot 
I got by me lots of grend ideas for 
peechers. One is about a he-blooded 
man from the Gret Open Spaces that his 
vife got incompatability of temper by 
h'im end run away witt a doity villain. 
De name from da peecher is called "Gins- 
berg Gets His Man," or maybe "Feitel- 
baum of the Royal Mounted." 

Tarrible Ivan 

AYBE you didn't hoid yet I should be 
an ector myself? Yesterday I met 
up witt a broducer end he said, 
"My God, what a face you got 
for the comedies, oxcuse me ! We 
should broduce a peecher called 
(Continued on page 90) 



25 



■■^>^T' 














m 







I? i^ s? Si P »r w 



m m 



4.iN"ri^rj III 1 1 n 1 1.1 i^i 1 4 4 : 



hey Also Starve 

The Hardships of Extras' Lives Boost 
the California Suicide Rate 



Editor's Note: Mr. CriUkshank, 
second rozv, extreme left, was one 
of a group of newspaper writers 
wJio acted for eight days as extras in "The Bellamy Trial." 
He gathered these_ strange talcs from the real movie 
extras idth whom he zcorked. They comtitute the 
sung sagas of the Little People of the movies. 



By HERBERT CRUIKSHANK 



un- 



SOMETIMES figures lie. But various sets of statis- 
tics seem to agree that during the past ten years 
approximately twenty-eight of every hundred thou- 
sand persons in California "did the Dutch"— more 
elegantly — committed suicide. 

This is more than twice the amount of seff-destruction 
chalked up against the entire nation over the same weary 
stretch of time. And even Chicago, that Mecca of casual 
labor, must yield to Los Angeles— City of the Angels- 
first place as a winter harborer of down-and-outers. 

What percentage of catastrophe may be ascribed to that 
odd mass of humanity grouped under the studio term 
atmosphere is problematical. But if an endless routine of 
sheer discouragement wearies one of life, it is safe to 
say that the names of countless extras are inscribed on 
the one-way door. 

Inquiry at the Central Casting Office regarding the 
number of extra people registered met the ruling that an 
O. K. from the Motion Picture Producers and Distribu- 
tors of America— the Sunday name of the Hays organiza- 
tion—is a prerequisite to the divulging of any information. 
Even in the dolce far niente of sin-kissed Hollywood, time 
flies too fast for flapdoodle. Hence the following figures 
are without benefit of clergy. 

With more or less inaccuracy, there are some fifteen 
thousand so-called souls who have left names, addresses, 
phone numbers and photographs with these arbiters of 
destiny. Of this number an average of under a thousand 
work each day. The rest wait. And the waiting is 
attended by macabre circumstances which would delight 
the morbid mind of Poe or mad De Maupassant. 

They tell the tale of the fat woman who lived for weeks 
on the promise of a character bit and the churlish charitv 
of a landlady who hoped to collect an overdue board bill. 

26 



In desperation the wheezy creature 
dragged her elephantine weight to 
the producer's office, and as a 
gentle leader toward the request for an advance of salary 
asked when she would be needed to add her touch of 
comedy to the fun-making film. Then she learned that it 
had been decided that a skinny woman would get more 
laughs from the great god Movie Fan. And a hu- 
man skeleton had been called for -the role promised to 
xMarie the Human Mountain. So our Bonle de Suif, 
brave, heart broken, insured her life in favor of her 
creditors, and took her final funny fall through the portals 
of Eternity. 

French Leave, Indeed 

TThev tell the tale of the little French couple who had 
drifted to Hollywood from Normandy via Montreal. 
Both were "extra talent." Some days they earned as 
much as fifteen dollars. Some days. Some weeks. Some 
months. But whether fifteen for a bit, or five in a mob 
scene, a Httle went for cabbage soup and sour, nourishing 
loaves disowned by the Jews and now called "Russian" 
rye. The rest went into the proverbial stocking against 
the time when there should be sufficient to pay passage 
back to la belle France. And one day there was enough. 
The tickets were purchased. And the day before the 
departure, the French boy, who had won a Croix de 
Guerre in Flanders, was killed in a war picture. But the 
travel agent was very nice. He returned most of the 
passage moneys Enough to pay for the funeral. And 
the little widow still answers extra calls. 

They tell the tale of the one-time star who hurtled 
downward as falling stars do. She couldn't bring herself 
to mingle with the hoi-polloi that sweat and swear for 
bread at casting-office windows. She had a little money, 
and invested in a project which boasted big film names.' 
Then set out to make poverty genteel. But there was a 
scandal. and an investigation. Of course, this didn't help 
her any. Investigations butter no parsnips. But she 
found a way to live. And now she answers fan mail in 
a fine, legible hand. And the name she signs is that of an 
(Continued on page 82) 



I 




Autrej 



Madge Bellamy is all 
set to hop down from 
her perch for one of 
the dances incident to 
her part in "Mother 
Knows Best." And 
speaking of that, it 
must not go unsaid that 
if the choice of Madge's 
costume in this instance 
is an example of 
maternal judgment, 
mother does 



27 




Hommcl 



D>'ar 



At the bottom, with half-opened book, is Clara Bow 
and BO are all the others 

28 



ow To Tell 

Except to Themselves 
The Bow and the Carol 

By Ann Cummings 



THE fans write that they often get 'em mixed up, and what 
shall they do about it? 

Some of the girl fans don't quite know whether they're 
wearing a Carol haircut or a Bow bob. Some of the boy fans 
are confused as to whether it's Clara they've fallen so violently 
in love with or Sue. Imagine their embarrassment ! 

The critics, writing about Sue Carol, -find it saves them a lot of 
brain fag just to say, "She reminds one of Clara Bow," or to cry, 
"Another Bow !" and let it go at that. The girls themselves ex- 
press great admiration for each other, but admit that they can't 
see the slightest resemblance. They may both be flappers, but they 
have tntirely different ways of flapping. 

A humorist once wrote a treatise on Hozv to Tell the Birds 
From the Wild Flowers. This article is written in the hope of 
helping puzzled fans to tell Clara from Sue. The first suggestions 
we would make is for the fan to read the announcement over the 
front of the motion picture theater carefully before going in. 
If the electric lights spell "CLARA BOW IX LADIES OF THE 
MOB," it is practically certain that the girl in the picture will be 
Clara Bow. So far as we know. Sue Carol has never doubled 
for Clara. If, however, the sign announces, "SUE CAROL IX 
WALKIXG BACK." there is almost no chance that one will see 
Clara playing a bit in the same picture. 

If the girl fan in search of a movie haircut takes a picture of her 
favorite star to a barber shop and asks for a bob exactly like the 
one in the photograph and the barber exclaims violently, "It just 
can't be done, lady. There ain't any such bob,'" she may safely 
conclude that it is a picture of Clara Bow's amazing crop. If, 
on the other hand, the barber gives her a boyish bob with all sorts 
of cute little tendrils cropping out around the face and a great 
shock of hair atop of her head, it's undoubtedly a picture of Sue. 




!! 



Russell Ball 



\'an Ross« 
& Lang 



i^laravrom 

And Hollywood 
Seem Indistinguishable 



Sue Assaults the Soul 

If the boy fans who sit down to write a letter to their movie 

sweetheart find themselves talking in a soulful strain about 
"ideals of womanly modesty" and "putting her on a pedestal" 
they are probably Carol fans; if. however, they talk about "great 
big hugs" and "a million kisses" and tell her that if she'll just 
wait till they get through prep school and college and law school, 
they are coming to Hollywood and marry her, the chances are 
that they are Bow fans. 

Just exactly why anyone should get these two screen per- 
sonalities mixed up, it is hard for a Hollywooder to understand. 
When you meet them at the Montmartre, you see that they dont 
look in the least aHke, except that they are both young, peppy, 
intensely modern, and 'about the same height and size. Clara, 
sauntering in (hands thrust into coat pockets, except when they 
are waving to some one of her thousand best friends or numerous 
ex-fiances), beret pulled jauntily over her flaming red hair, is 
the Jazz-Baby in the flesh. Sue. sport hat not concealing her 
l)lack hair and dark eyes, is the college co-ed, or society debutante. 

Clara is dynamic, mischievous, provocative. Sue is cute and 
coquettish. Clara's eyes are as slumbrous and smouldering at 
times as the Garbo's, and at other times sparkling with gayniuc 
impudence. Sue flirts rather than tempts. 

Having pretty little figures, they are both given the chance to 
-how them in some of their pictures. In "Hula" and "Red Hair" 
"lara undressed ; in "Soft Cushions" Sue wore only a few strings 
'f summer-weight beads, and in "Walking Back" she appeared in 
legligee. They may be sisters in their skins, but whereas Clara's 
;ans have no objection to seeing their idol in next to nothiii'^ 
>ue's raise a great outcry when she begins to take 'em oft 
(Continued on page 7i) 






V an Rossera & LatiK 
No trouble here distinguishing between the two dis- 
tinguished youngsters; theyVe all Sue Carol 

29 



1 




o Women 



Mothers and Wives Make or 



Archer 

From lop to 
bottom: Mrs. 
Mary G i s h. 
mother of Lil- 
lian and Doro- 
thy; Lea trice 
Joy and her 
mother; Jeanie 
Mac Pherson ; 
Madge Bellamy 
and mother-; 
and Mary Miles 
Minter and 
mother, Mrs. 
Charlotte Shelby 
P. & A 



By Dorothy Calhoun 



WHO makes the movies move? If you should ask 
the producers whether it is the women, they would 
laugh at you, but there would be — I'm certain — 
an uneasy note to their laughter, and some of them — I 
feel sure — woyld glance over their shoulders to make 
sure they were not overheard ! 

On public occasions the Male of the Movies struts his 
stuff in open front suit, looking very dominant and suc- 
cessful, and tells admiring after-dinner listeners how he 
produces pictures, he chooses stars and he decides on the 
policies of the fourth-biggest industry. And as he 
pounds forcefully upon the table while the lights 
scatter sparks from his diamond studs, some 
woman (perhaps she sits at the speaker's table, 
perhaps in some insignificant corner) looks, 
demurely down at her demi-tasse to conceal 
the laughter in her eyes. For she knows 
who really does decide on pictures, stars 
and policies ! 

The public in its innocence may think that 
Hollywood is ruled by business con- 
ferences with all the executives gathered 
around a mahogany table ; the studio knows 
cynically that some of the most important 
decisions of the movies are made quite 
suddenly in producers' private offices with 
temperamental lady stars throwing inkwells. 
Many an attack of hysterics has made 
Hollywood history. Pouts and curls, tears 
and dimples, all play their part in movie 
making. 

The film magnates may get the credit for 
running the picture business, but sometimes 
they suspect dismally that it is the movie 
mothers who have the real power. There is 
rejoicing in the seats of the mighty when 
an orphan star is signed ! Students of 
natural science would find an interesting 
situation in Hollywood : while almost all 
the picture stars have mothers, thet-e is no 
visible sign of fathers in most cases. The strain of 
keeping up with their famous offspring seems to have 
been too much for male parents. And so the pro- 
ducers, instead of dealing with their own sex when it 
comes to talking contracts, find themselves confronted 
with middle-aged ladies whose natural maternal pride 
has been magnified into the conviction that they have 
the most talented and beautiful children in the world. 
Chivalry forbidding the shaking of fists and waving of 
hands, the producers are rendered speechless, while 
the ladies have the final unanswerable argument of 
tears. No one who sees an important movie executive 
staggering feebly out of his office after a conference 
with one of the stars' mothers would have any doubt 
as to who really runs the industry ! Rather would he 
encounter a ravenous tiger than combat a woman bent 
on furthering a daughter's professional interests. 



rilk 



BRuie the^^Jj^viesi 



Break Destinies in Hollywood 



Mother-Mad America 

"The American public has a mother complex. The case 
'■ of Mary Miles Minter proved that to the producers. 
Overnight, her company lost a fortune when the stock 
of Dimples-and-Curls went down after a newspaper 
quarrel with her mother. Thereafter, movie mothers 
were treated cautiously, and the real reign of petticoat 
politics began in Hollywood. 

"When the history of the motion pictures comes to be 
written," one of the biggest producers admitted not long 
ago, "the most important figure in the industry will be 
found to be Charlotte Pickford. She guided her own 
daughter's astonishing career with a firm hand, and in ?o 
doing established precedents that made careers for 
hundreds of other girls. If there had been no 
lotte Pickford, there might have been no great 
screen stars." 

At a time when the movies did not feature 
players' names, and big salaries were un- 
heard of, this little Toronto widow stood 
firm against the most powerful men of the 
industry. The salary she named as the 
price of her daughter's signature on a 
contract blank made them purple with 
rage. They argued, stormed, threatened — 
and she stood firm. 

"It's all right," she told them calmly, 
"Mary and the rest of us will get along some- 
how, even if she doesn't make any more 
pictures for you. We've always managed. 
Anyway, she's been working pretty hard — a 
vacation will do her good." 

In the end, of course, they capitulated. 
They knew, even then, that Mary Pickford 
was worth whatever they had to pay to get 
her. With her signature on the first high- 
salaried screen contract, Charlotte Pickford 
becjueathed stardom and fortune to hundreds 
of future picture actresses. To the end of 
her life she was Mary's adviser and business 
manager and no deal involving the daughter 
was ever put through without the mother's 
consent. 

The influence of another uncrowned ruler of Holly- 
wood's Matriarchy, "Peg" Talmadge, the witty Irish- 
woman who is the mother of Norma, Natalie and Con- 
stance, can hardly be overestimated. The Gish girls' 
picture.s — representing millions of dollars — have always 
been secondary to the health of their frail mother. 

"We didn't want to be movie stars," Marceline Day 

confessed to me once, "Alice and I wanted to finish 

high st:hool, but mother insisted on our trying the 

pictures first. She has done it all." 

1 The mothers of Betty Bronson, Virginia Lee Corbin. 

ipe Velcz. Gloria Swanson, Madge Bellamy, Jacqueline 

gan, Leatrice Joy and many others have probably had 

ire to do with their careers than any other person. 

It mothers are not the only feminine rulers of Holly- 
{Continiicd on page 88) 




! 



!i' 



IS 






Top to bottom: 
The late Mrs. 
Charlotte Pick- 
ford, mother of 
Mary and Jack; 
Lupe Velez with 
her mother; 
Constance Tal- 
madge and 
mother, "Peg" 
Talmadge; Betty 
Bronson with 
her mother, and 
Adolphe Men- 
jo u with his 
former wife 



81 



Although she haM 
never written a 
book on the sub*«l 
j ect, Alberta 
Vaughn has con- 
sented to present a 
fair outline of the 
proper form ini 
wearing lace shawlr. 
They may, as we 
see, be draped 
either on or off the 
shoulder 




32 




n 



a China Shop 

Mr. Seiter Cut Loose Early 

From the Cut-Glass Profes- 

sion and Stampeded to 

Hollywood 

By HERBERT CRUIKSHANK 



BUT for the grace of God and a roving disposition 
William A. Seiter might have rounded out his 
career and his figure as a big glass and crockery man. 
Had he followed in the parental footsteps, he in turn 
would have become a pillar of Westchester County so- 
ciety, president of the Siwanoy Golf Club, an officer jof 
the Twelfth, a gentleman, a good judge of Bourbon and 
the pride of Mount Vernon, X. Y. 

For little Willie was born with a gold spoon in his 
mouth. Or, if not precisely that, at least his earhest clam- 
orings for food and drink were stilled from a genuine 
cut-glass bottle taken right out of stock. In these de- 
cadent days when the youth of the land set up house- 
keeping with a corkscrew and a can-opener, many of the 
ancient graces have departed. And a generation that 
spears its delicatessen food from 
paper plates has no need or 
memory of the old and stately 
house of Higgins and Seiter 
which for a generation beautified 
the banquet halls of culture with 
the fragile beauty of rare china. 
The Seiter end of this once re- 
nowned firm was Hill's pa. And 
but for the aforementioned rov- 
ing disposition and a sense of 
humor Bill would have remained 
where he started — in the re- 
spectability of business. They 
do tell that the famous bow- 
legged floor-walker who re- 
quested the lady customer to 
"Walk this way. Madam," was 
an employee of the firm. And 




Confidence? Bill Seiter has it, and 
to 8pare. He is neither confounded 
hy nor jealous of his wife's success. 
He's often referred to himself as Mr. 
La Plante. But no one else ever has. 




Seeley Photos 



it seems that Bill was fooling around the shop when the 
historical episode occurred. In any event, a snicker lost 
a sale. And. a sense of humor has no place in the cut- 
glass industry. 

Thus it occurred that Bill passed up the prospect of a 
five-thousand-dollar-a-year job in the revered capacity 
of buyer, and wandered Westward on the much-vaunted 

tide of empire. The Pacific 
stemmed the tide so far as Wil- 
liam was concerned, and he 
paused among the vacant lots 
which were to be Hollywood. 

Of his career at the time Bill 
tells many tales. Some of which 
are doubtless based on fact. 
Others of which are good stories 
anyway. But after fooling 
around hither and yon, mooch- 
ing meals, and sleeping where 
the sunset found him, his broad 
shoulders jostled Opportunity. 
A mealy-mouthed, flat-breasted, 
uninviting Goddess she was. 
But a few crumbs are better 
than a whole loaf, and as Bill 
had been loafing for some time, 
he welcomed the chance to ride 
into a new career as a Christie 
cowboy. His first day as an 
actor almost proved his last. 
For the merry mustang astride 
of which Bill rode to the rescue, 
(Continued on page 80) 

33 



kHB 



The one is a four- 
legged professional, 
a Dalmatian with a 
complexion as 
spotted as a boot- 
legger's past. The 
other is his master, 
Milton Sills, who, in 
the screen produc- 
tion of "The Bark- 
will play the 
title role 




34 




SECRET HISTORY OF THE MONTH 

What We Hear From the Hollywood Press Agents 




Cr>niineDtary on the lamentable state of Terpsichore in the open 
c)iai'e regions of California, from the philosophic Sam Jacobson of 
Universal City: 

"With a dummy for dancing partner, Hoot Gibson, 
screen cowboy, carried off the first prize in a dancing con- 
test at a masquerade ball while his company was on loca- 
tion at Bishop, California. The wooden effigy was 




dressed in feminine attire^ and Gibson's skilful maneuv- 
ering of his 'partner' on the side of the hall opposite the 
judges fooled them into awarding him the cup. " 

What We Artists Have to Put Up With 

"Norma Talmadge is breaking in a new pair of boots. 
They're real boots — rough leather, uncomfortable and not 
very dainty — and they hurt her feet. But, oh, how she 
enjoys rushing to a bootjack and changing to comfortable 
slippers the minute she gets away from the cameras." 

Zoological (lata showing the almost human emotional reactions 
of the Baby Star, genus United Artists, in its native habitat; from 
the studio's trained observers: 

"Among the Easter gifts sent to Lupe Velez was an 
Easter egg amazingly like the fiery little lady of 'The 
Gaucho.' A red rose and a mantilla of lace completed the 
illusion and caused Lupe to emit delighted cries of 
approval." 

Remarkable array of testimony marshaled by the United Artists 
publicity guild, demonstrating the versatile genius of his Emi- 
nence, D. W. Griffith, in such uncharted realms as catering: 

"D. W. Griffith serves ice cream and coffee to his 
players in 'The Battle of the Sexes' every evening at 




It is a custom he started while filming 'The Birth 



five 

of a Nation.' " 



— statistics — 

"It is highly conceivable, declares D. W. Griffith, that 
the price of flowers may have something to do with the 
high cost of motion pictures. During the four weeks of 
filming 'The Battle of the Sexes' an average of twenty- 
two dollars a day was expended for fresh flowers used in 
the scenes." 

— rodent psychology — 

"It needed something more realistic than a stuffed 
mouse on strings to make Phyllis Haver simulate the 
fright that the script of 'The Battles of the Sexes' called 
for, so D. W. Griffith brought the mice on the set. An 
extra one was provided to circumvent possible fatahties 
due to stray cats or mousy temperament. Mice are not 
bad actors, Griffith contends." 

— and, with it all, scorn of profiting by his talents — 

"Griffith could never have achieved his place in film 
history if his interest in it had been merely casual, or if it 
had been the interest of the self-seeker with a fortune in 
mind." 




State of mind produced by acting in the movies from the age of 
nine until practically unconscious, related by the Paramount 
Press Gang: 

"In her search for something to ward off the accident 
curse that seems to have followed her during the greater 
part of her career, Bebe Daniels is offering a prize. Un- 
der the terms of the search, letters describing the certain 
luck-bringers are asked. Then from these descriptions 
Miss Daniels will select ten charms that appeal to her 
most. She will theti send a personal letter to the owners, 
asking that they mail them to Hollywood. She will try 
them out on ten successive days. The one that brings 
her the most luck will win either a dress or a ring." 

Touching tribute to studio realism, from Metro-Goldwyn-Mayer: 

"Jim Tully turned actor when he sat among the news- 
paper reporters in the court scene in 'The Bellamy Trial.' 
Seeing reporters he used to work with there, he just 
couldn't resist the temptation, he said." 
{Continued on page 71) 



86 



^ 




There ig a royal road to learning some subjects, for here is Catherine II of Russia receiving instructions 
in thrills from Casanova, possessor of a master's degree in erotic engineering 





rofessor of J assion 




38 



the 



Dm 



ivme 



Lady Herself 

Corinne Griffith Is an Orchid 

That Flowered Only When 

Hardship Came 



By FRANCES CARPEN 



" aH, that deceit should steal such gentle 
Z\ shades!" 

Corinne Griffith didn't say that in so 
many words. Shakespeare did. But she 
might have said it, than which one 
praise a lady's mentality no more higl 
Especially such a lovely lady. "The 
Divine Lady" (in her forthcoming 
First National production). A lady 
who has been compared to an 
orchid under Venetian glass, a 
sybarite, an exquisite, the Blessed 
Damosel and others. One whose 
beauty has been choired by the 
tongues, mirrored in the en- 
chanted eyes of all mankind. 
A lady to whom poets have 
written odes and lyrics, and to 
whom women, ever practical, 
have written for advice. 

A lady who, by every right of 
fair allotment, should need no 
brains. Brains are not consid- 
ered necessary in Hollywood. So 
many young folks seem to get 
along without them. Quite, quite 
nicely. 

The other day, on the air. I heard 
a gentleman discussing the moot mat- 
ter of personality. He was trying, poor 
brave soul, to define it. He said that it 
functions on three planes. The physical. 
The menta:l. The spiritual. 

If it functions only on the physical, you have noth- 
ing but flesh, momentarily attracting, corruptible and 
soon forgotten. I thought of Hollywood. Highly sea- 
soned little atoms with the sense taken out of sensuality. 

If it functions on the mental plane, you have a voice 
behind the mask. I thought of Corinne. 

First the Aristocrat 

^ORiNNE who is, somehow, iti Hollywood but not of it. 
^^ Corinne who has achieved a dignity without snobbery. 
A detachment, an aloofness with no loss of gentle hu- 
manity. She has gone down into the heat of the arena 
and has come up out of it without the garment of illusion. 




a little saddened, her 
beauty stabbed with that 
poignancy that means 
dreams gone down to de- 
feat. The subtle defeat that 
is not always a matter of 
dollars and cents and billing. 
A poem that has been roughly 
handled and wrongly read but 
still retains its intrinsic beauty, its 
hint of immortality, 
"carsiy Corinnc has a voice behind that in- 
comparable mask. 
Some years ago the child Corinne was born 
in a small town in Texas. A pretty, thoughtful little girl, 
one of a happy, pleasantly prosperous family of four. 
The mother, father, Corinne and an elder sister. An 
average family with rather more than average means. 
No connection with the world of the theater. The faint, 
future echoes of the screen reaching them only as poten- 
tial audience. 

Her father was the Big Man of the town. He started 
down-and-out young men in business out of his own 
pocket. He backed discouraged men who needed backing. 
He belonged to clubs and lodges. He gave the glad hand, 
advice, time and money w'ith liberality. His family 
(Continued on page 89) 

37 



A s^ 



i 



s.«^ 



■4 



4 ."Ik,*' 



j:*. 



C, S. Bull Photos 



'^. 



ir^^ 



\* 



\' 



John Gilbert's 
Constitute a 



:(. 



"f 



-v 



■More gratifying to the 
Gilbertian ear even than 
volleys of applause are 
applause of his volleys, 
and those he's making 
here are deserving of it. 
At the top, John demon- 
strates his eagerness to 
take a plunge, so long as 
it isn't matrimonial 



./ 



38 




eman 



Net Profits 
Neat Figure 



77>. 



i. A 



-•? 



— r 



If tennis balls were hearts, 
Jack undoubtedly would 
be captain of the Davis 
Cup team — and neither 
Cochet nor La Coste 
would stand a chance 
against him. Indeed — if 
opposed to Mr. Gilbert — 
the ladies would say that 
even fifty million French- 
men must be wrong 



'?^ 



39 




the $97 

Masterpiece 

Its Producer, Robert Florey, Says That 
With Another $500 He Could Make 
Norma Talmadge Famous 

By Edith Tarrent 

HOLLYWOOD has something and someone new to talk about. 
The something is a one-reel picture titled "The Blues — A 
Rhapsody of Hollywood." 

The someone is a young man named Robert Florey, who made said 
picture for ninety-seven dollars. 

I'm not going to say that "The Blues" is a good picture, nor a picture 
at all for that matter, though a special musical score is being written 
for it. It is riding haughtily into the United Artists Theater in Los 
Angeles as a glorified short subject, and Charlie Chaplin himself titled 
it. But I will say that any Hollywood youth who can do anything at all 
with ninety-seven dollars, besides tip a waiter or so at the Montmartre, 
deserves mention. 

Mr. Florey ran "The Blues" ofif for me in a United Artists pro- 
jection-room, I'll confess to being very grateful that he was there and 
so could explain the picture as we went along. He says it's the story 
of a boy who comes to Hollywood with ambitions to become an actor. 

A casting director marks him down — or rather marks him up — as 
No. 9413. The boy dreams of fame and glory, wearing during this 
period a series of peculiar masks. (Let Eugene O'Neill sue on this if 
he wishes.) Fame passes him by, so the youth commits suicide by 
lying down on a couch and rapidly opening and shutting his mouth five 
times. Then he goes to heaven on a hand-car. 

From Extra to Angel 

Detween close-ups 6f our hero, during his transition from extra to 
•*-' angel, there are many peculiar shots which tend to confuse an ordi- 
nary person Hke myself. 

There are cubist railroad tracks zig-zagging skyward, with enormous 
wheels whirling upon them. These, says Mr. Florey, are symbols of 
the mechanical age in which we are luckless enough to live. 

There are shots of a tall white building spinning like a pinwheel. 
When I respectfully asked Mr. Florey what that symbolized, he pa- 
tiently explained that that's the way you see things if you're famous. 
The spirit is uplifted, dizzied. Obscurity has it.^ compensations, I re- 
flected comfortably. It would be so annoying to look out the window 
and see the neighbors' houses upside down or chasing each other around 
the block. 

The picture fades out on a shiny heaven, in which our hero sails 
round and round on a pair of wings. If you are inclined to criticize 
this scene, because the angel is a cardboard figure attached to a piece of 
wire, and heaven itself a grouping of cylindrical tin cans, carefully 
lighted for effect, remember that you can't expect too much art for 
ninety-seven dollars. Given a hundred dollars to work with, Mr. 
Florey might have knocked us cold. 

A One-Man Cast 

As to Mr. Florey's cast, it is composed of just one actor, and he doesn't 
do any acting, so must come in for minor consideration. This 
really is too bad, for Mr. Florey tells me that Jules Raucourt, who 
plays the solo role, was formerly one of the greatest actors in France. 
{^Continued on page 86) 



40 



A8 the words to the 
song had it: "What 
she's got, she's got a 
lot." Mary Duncan, 
whose stage perform- 
ance in "The Shang- 
hai Gesture" violated 
the fire laws, enacts 
here a scene or two 
with Charles Morton 
for "The 4 Devils." 
They do say the 
studio officials who 
watched her rushes 
were all badly sun- 
burned 




41 




R. H. Louise 

FL'XXY, how the movies picked up Johnny Mack 
Brown. 

They photographed him when he didn't know a 
camera was trained in his direction. They doubled him 
for Lloyd Hughes, when he had never met Mr. Hughes 
nor anyone else connected with motion pictures. He pro- 
vided movie audiences with some darned good thrills 
without the least idea that he was doing so. 

For Johnny Mack Brown was a stock-shot star in those 
amiable days before he knew what a stick of grease-paint 
looked like. That we may better explain his peculiar 
entry into pictures, it may be well to give a definition of 
the stock-shot. 

A stock-shot is any newsreel shot which is inserted into 
a dramatic motion picture. Fires, storms, parades, auto- 
mobile and horse races lend themselves frequently to this 
purpose. The Hollywood hero, via this good old standby, 
may fight his way through a tornado which occurred six 
months before and three thousand miles away. The 
heroine may, from a balcony on the studio lot, cheer a 
parade which took place in Paris in 1918. 

But the most popular stock-shot of all, especially since 
the influx of college pictures, is that of football games, 
and right here is where Johnny Mack Brown steps in. 

Johnny was the football idol of the University of 
Alabama. Two years ago he came West with his team 
to play the University of Washington at the Pasadena 
Rose Bowl. Newsreel men covered the famous New 
Year's game very thoroughly, focusing particularly on 
Johnny Mack Brown, who won the game for dear old 
Alabam'. 



42 



onenalahahmali 



and Johnny Mack Brown Forwardll 

Passed From Stock-Shots 

to Stardom 

By Carolyn Dawson 



Back home in Dothan, Alab»ama, severall 
months later, Johnny strolled into a movieij 
show to view the art of Lloyd Hughes in< 
"Forever After." What was his surprise, 
during the football sequence in this picture, tc 
see himself dashing madly up and down thei 
field, saving the day for W^hoosis College? A I 
stock-shot of the Pasadena game had been in- 
serted into "Forever After" and the Southern 
lad who had brought thousands to their feet, 
cheering madly, now saw himself providing thrills 
aplent)' for a movie audience. But without credit, 
for Hughes was supposed to be the hero of the 
screen opus. 

The following year Johnny came back with his team 
to play Stanford. On the advice of George Fawcett 
and other players, who met him on the football field, 
he stayed. 

Being stalwart, handsome, and all sorts of nice things 
like that, the boy had no difficulty in getting a contract 
with M-G-M. Though I have seen him in just one picture, 
"The Fair Co- Ed." with Marion Da vies, he appears to have 
all the talent required of a leading man. His rise from 
stock-shots to stellar prominence has not been difficult. 

Alabam', Alabam', Alabam' 

DuT he is a bit of a trial to the inter- 
*~^ viewer, because he doesn't speak 
English. I mean it. I doubt that 
anyone outside his native state can 
understand one-half of Johnny Mack 
Brown's conversation. Don't fool 
yourself that you've ever met 
a .real Southerner, unless you 
know someone from Alabama, 
{Conthmed on page 70) 




-^T*^ 



\\ 



ft « 



». 



< :xs 



It seems hard to be- 
lieve that Josephine 
Dunn could be suited 
to the title role in 
"Excess Baggage." 
But she is. And so 
our life work is 
pretty definitely de- 
termined. We're going 
to be either a porter 
or a station master. 
And there'll be no 
extra charge for toting 
Josephine around 



Capable and clear- 
headed, the pictures 
on the left and right, 
make out Josephine 
to be. For they dem- 
onstrate that she 
knows the ropes of 
her profession and 
also that her skirt 
may be ruffled, but 
never her presence of 
mind 



s* 



^^•^ 



ff 



i 



R. H. Louise 



the hije of a Foxier I 



43 



I 



If 




This is the way he looked back in the days when "A Hot Time in the Old Town Tonight'' 
was the ragtime rage. It's a picture of him taken when he was eighteen, after he had joined 
the Navy to see the world and so far had cruised over most of the Brooklyn Navy Yard. His 
record in the service is good, hut on the screen he's been caught in many a dastardly act. 
Who is he? Noah Beerv? No. Lon Chanev? No. Yes, that's right— George Bancroft 



44 



BOM 



^^^mera 




This might be the first girl 
to swim the channel with 
her fingers crossed. But it's 
not: it's Biliie Dove, pad- 
dling abont at Coronado 

Pray for a shipwreck, for 
Lili Damita, below and 
just imported from Paris, is 
going to be the leading 
woman in "The Rescue" 




^/f^V^ 



Give anyone enough rope, 
they say But not neces- 
sarily. Mary Astor is the 
exception, for she's taken it 
and had a swing made 



Fashion can never catch 
Anna Q. Nilsson napping. 
Whether gowns be sleeved 
or sleeveless, she is as a la 
mode as a piece of pie 



An organic weak- 
ness that is a 
pleasure — Do- 
lores Costello's 
passion for 
music. She has 
just been giving 
the instrument at 
the new Warner 
theater in Los 
Angeles its first 
lesson in the 
scales 



Nickolas Mur«y 




45 



CINEMA SHOTS FROM COAST TOi 



Mushroom and bored: Mae 
McAvoy, at the left, seems to 
have started out to play polo 
and ended up playing solo. 
Can it be that the rest of the 
team has been so ungracious as 
to chukker off it? 



hoofs? Not Alice 
■when you look 
ut it does come 
ustrnting the 
when is a lady 
? When she's 
ttle hoarse 




The lion's share in the 
instance below seems 
to be larger than him- 
self. Leo, Jr., is giv» 
ing Flash a ride, just to 
show that a dog's life is 
not always a dog's life 




Maid in Germany: Lya Mara, at the left, 
Ben Lyon's leading woman in "Dancing 
Vienna," a picture fabricated in the Father- 
land. If this is what they dance in there, we"d 
like to see their bathing suiu 



Trying to stick up for himself: 
Johnny Mack Brown engages 
in a mumblety-peg contest with 
Polly Ann Young. He has 
reached the step known as 
Spanking tlie Baby. But from 
the glint in Polly Ann's eyes, 
Johnny himself is going to be 
next in line for a licking 



Worse tban a tempest in a tea- 
pot — a Baby Cyclone in a loving- 
cup. The doglet between Aileen 
Pringle and Lew Cody plays the 
title role of "The Baby Cyclone." 
This picture was taken at the 
Peke of his career 



Let Loy be unrefined — if she 
feels like it — seems to be 
Myma's motto. And Agnes 
Franey's as well. They not 
only eat hot dogs in brond 
daylight, but they growl while 
they do it 



I 



4G 



COAST AND BACK TO COAST AQAIN 



Chairity begins on the beach. 
Observe Lois Wilson en- 
sconced comfortably and dis- 
playing the reasons why she 
was inevitably the choice for 
the leading character in 
"SaUy's Shoulder»" 



As a last desperate safe- 
guard against the incursions 
of the intrepid sex into his 
privacy, Richard Dix — be- 
low — sees to it always that 
he is accompanied by his 
police dog. the Prince of 
Beverly 




The news photographer at last 
is photo"graphed. Nick Stnart, 
as he witnesses things in The 
News Parade" through the all- 
seeing glass eye of the camera 



The lid is off in the film colony. 
Rookie. Lew Cody's bulldog, get- 
ting the last drop of milk thalV 
been bootlegged to him in a tea- 
pot. This diet, they say. is one 
of Rookie's beauty secret- It 
keeps his tail in perfect rurl 



47 




earts 



These days it is an itchy little star of 
no magnitude to speak of, that hasn't 
a per<ionaI orchestra along with a 
French maid, a Japanese valet, five 
Russian chauffeurs, a pet puma and 
elephantiasis of the ego 



AXY good press agent will tell you that it was So-and- 
So (insert name), of the company for which the 
press agent happens to be working, who first 
thought of making movies to music. Probably a hang- 
over from the days when "hands-on-hips-place-feet-apart- 
spread-sidewise-bend-to-the-left-begin-one . . . two . . ." 
was rendered more tolerable by Miss Minz's execution of 
the Kittens' Frolic Polka on the g}'mnasium piano, this 
famous director (motion picture actor, motion picture 
actress) found that there was a relation between heaving 
chests and heaving chestweights, between Indian clubs 



By Henry W. Hanemann 

and the Indian sign of an imported order of warm honey 
vamping her victim. Any cracks about dumb-bells are 
wholly gratuitous. 

But musical accompaniment has gone far beyond the 
casual experiment of this pioneer director (movie actor, 
actress). In all likelihood, the pioneer himself (herself) 
would refuse to recognize the time when he or she was 
content to unleash priceless talent to the IVashington Post 
March pkyed on whatever the fifth assistant electrician 
happened to have in his hip pocket. These days it is an 
itchy little star of no magnitude to speak of, that hasn't a 
personal orchestra along with a French maid, a Japanese 
valet, five Russian chauflFeurs, a pet puma and elephanti- 
asis of the ego. What happens when a chamber trio of 
harp, basset-horn and ziola d'amorc is slated to play oppo- 
site a sextette of musical saws, I don't know. I have my 
own troubles. Whatever does happen can't be any worse 
than what .happened recently. A certain foreign star 
took one look at the assorted private orchestras and de- 
cided that not one wheel would she turn unless goaded on 
by the modulations of her native pljoiiskja. 

The Great Pljouskja Famine 

C AxopnoNES, triangles, zithers, spinets or bassoons were 
^ of no avail, it was either a pljouskja or nothing — and 
the nothing was on the company's time. Forthwith an 
assistant director was dispatched to comb Hollywood for 
a pljouskja. Days went by and disclosed Hollywood 
singularly unafflicted with pljouskjas. Not a pljouskja 
in a carload. At last with infinite trouble and no little 
expense a man was found with a pljouskja and he was 
haled in triumph to the studio. It turned out to be only a 
b flat soprano pljouskja and not a c melody one, but the 
star graciously decided to waive the difference. "You will 
play," said she to the man, "Oicli 'Jna Pradjnavoscz 
(Cherries are ripe, Heigh-ho, my Little Scallop)." 

"What — on this?" asked the man, indicating the 
pljouskja. 

"Yess, now, right away, queek !" said the star, and her 
eyes flashed and she stamped her foot. 

"Why," said the man, "I never played one of these 



48 




and jplowers 

Drawings by Eldon Kelley 

things in my life! I was just holding it for a 

friend." 

Well, that's how it goes. Pljouskjas or bull fiddles, the 
stars must have their music to w-ork to and the necessity 
permits every nuance of individual variation. Not only 
do the darlings hold out for their own kinds of instru- 
ments, but they have personal ideas of what constitutes 
a torrid tune. I i a Negri, for instance, carries on to the 
seductively broken two-four rhythm of }' Covio La Va 
and Clara Bow takes off to the provocative whine of 
Aloha Oc or Piia Carnation (from contented Waikikis). 
Reverse this, and what have you? Lon Chaney making 
his 1025th face while the woodwinds softly breathe Let 
the Rest of the World Go By and Jetta Goudal breaking 
down completely to the strains (or from the strain) of 
La Marseillaise. Nobody knows just why Miss Goudal 
breaks down to La Marseillaise, least of all Miss G.. but 
rumor has it that Jetta is under a fixed impression that 
she is listening to Poff! Goes the IV easel. Corinne Grif- 
fith holds out for operas. One plangent phra.<;e of Le Roi 
D'Ys (Lalo) and Corinne has simply shredded her cor- 
sage of jumbo orchids to bits. Lights! Camera! Hark 
— the lilting melody of Among My Souvenirs. John Gil- 
bert and Greta Garbo are burning each other up. \'ariety 
is the spice of life, and there's Mike outside with two 
V^neapples ! 

Thursday Is Not Keyhole Night 

^^FF the lot, things are even more complicated. Though 
^'^ the stars generally stick to one tune to bring any 
emotion — joy, sorrow, anger, avarice, gluttony or luxury 
— into instantaneous response, once work is over, the 
orchestra is placed on a trailer hitched to the back of the 
star's car, and as the car bowls along, the orchestra dis- 
penses popular or serious airs, dance music and request 
numbers. This keeps on during dinner and through the 
evening and finally, as the orchestra retires discreetly be- 
hind a clump of bougainvillea and breaks softly into The 
So»g of India (Rimsky-Korsakof), let us peep into the 
star's boudoir. Wait a minute — this is Thursday night, if 
I am not mistaken. On second consideration we'd better 
not. George ! Take your eye out of that kevhole ! 



Even Pljouskja Famines Cannot 

Deprive Stars of Tunes that Tap 

the Tear -Ducts 



So cluttered up has Hollywood become with these 
private orchestras that there is now a movement to record 
the favorite tunes of the stars and run the entire racket 
with phonographs, turning the musicians loose to shift 
for themselves. However, it would hardly look well for 
large bands of starving musicians to be roaming the 
streets of Hollywood, and for all I know they might con- 
stitute a serious menace and bite somebody. The problem 
of the Hollywood unemployed is already unwieldy. Sti'i. 
if the stars take to getting their inspiration by phono- 
graph, it is either that or a lot of those overgrown bo- 
hunks — particularly the ones whose lot it is to throttle 
those portable organs which have the appearance and 
aesthetic value of a household tool cabinet — will have to 
shave, put on a clean shirt and go out looking for work. 

As a matter of fact, under present conditions music 
appears to be indispensable to the industry. Movies are 
canned to music and released to music. Whenever pos- 
sible they are sold to exhibitors along with a musical 
accompaniment. No properly appointed projection-room 
is without its piano. VVell I remember the bitter attitude 
of no less a person than William Fox when the projec- 
tion-room piano-player failed wretchedly to improvise 
a special score for Theda Bara in "'Cleopatra." True, it 
was long after hours, but the master decided that he had 
to have a look at his wonder-picture and the ninth vice- 
wastepaper basket emptier was hurled into the breach. 
Poor fool, he said he could play the piano. True also, 
the mommser would play Sadie Salome, Go Home a-> 
Theda lay dying. Eg>-pt dying, and Valsc Bleu through 
all the excitement of the battle of Actium. He was fittingly 
blasted by Mr. Fox. Mr. Fox's wrath was Olympic. 
It was not only Olympic but Homeric, Titanic, Majestic, 
and Adriatic, and it had the over-all impressiveness of the 
Leviathan. As the stories say, that wastepaper basket 
emptier may now be George Gershwin, but I doubt it. 

AH in all. whether in studio, projection-room or cinema 
cathedral, movies without music are like Park bereft of 
Tilford, Trade without brother Mark, Hans minus Fritz, 
love without hope, ginger ale without gin, men without 
women, bread without butter. Mutt without Jeff and 
touch the floor wit'hout bending your knees. 

Which, xi'hen you stop and look the fact smack, bang 
in the face, is one hcluva comment on the Silent Drama, is 
it not? ' 



49 



kMM 



^r 



'rf^*^ 



'riv 



■ « * 



^ • « • ^ 



Pho'^s \Vm. Mortensen 



Believing, we should say, in a short skirt and a gay one: Lois Moran. 
And dissipated! Aside from the appurtenances of vice visible above 
the table, it's not improbable that underneath it she has concealed a 
piece of chewing gum. In Lois's behalf, though, it should be pointed 
out that she is only playing a part. So don't hold her simulation of 
wickedness against her. There's no reason why she should be a 

Montmartyr to her art 



AOThis 



OIS! 



60 



• •• 



•■^3 



.^1. 




Him 



on't Call 



frnj^uddy 



A ClosC'Up of 
Charles Rogers 

By Carol Johnston 

Caricature by Armando 



OLD Song: 
"Bring back, bring back, oh bring 
back my buddy" — altogether, 
now — "to me, to me!" 

Rut it's no use. Buddy might just as 
well be lying over the ocean, for all you 
are going to hear of him from now on. 
Because Buddy Rogers is all wet. He is 
Charles Rogers now. 

Yes, the boy has grown older. Two 
years ago he was just a fresh — though not 
too fresh — kid from Olathe, Kansas, 
where his dad ran "the" newspaper. He was "graduat- 
ing" from the Paramount picture school, and the world 
was his big, red apple. He was the kind of boy who 
would polish it and hand it right over to teacher. He 
had ideals — you could see it to look at him. When you 
saw him at a party, he was always a model young man. 
Once in a great while he would fling discretion to the 
winds and take over the trombone from the trombone 
player in the orchestra and make it cry like everything. 
Outside of that, he attended strictly to business. Buddy 
was in earnest. He had his mind on his work. And 
like all good boys in fiction, and one or two in f^ct. he 
had his reward. His basses sent him to California and 
patted him on the head and gave him a big, juicy part in 
"Wings." 

Buddy began to soar. He was picked out of all the 
eligible juveniles in Hollywood to play opposite Queen 
Mary in "My Best Girl." On his home lot he was in- 
structed to make love to Clara Bow. And then he was 
handed a prize plum — the role of Abie — the kid him- 
self — in "Abie's Irish Rose." And that, my dears, was 
his finish. 

17,000 Fan Letters a Month 

^^NE day somebody or other took the tnouble to count 
^^^ the number of. letters young Mr. Rogers had re- 
vived from his fans in one month. They totalled ex- 
actly 17,862. That nice, shy boy, in his quiet, retiring 
way, was burning 'em up ! He was calling forth the 
hottest collection of adjectives and exclamation points 




yivpt.-- c 



ever inspired by any actor. Only the flaming-haired Miss 
Bow could top him, with her 18,000. Here was Rogers, 
after only three or four outstanding pictures to his credit, 
apparently eclipsing in public interest stars of several 
years' standing. Something had to be done. 

Paramount looked him over. Young Mr. Rogers stood 
the o. o. without flinching. Hollywood had done her 
worst to him — and the worst she could do was to give 
him a good, healthy coat of tan. When he was back in 
New York, he was always too white. He thought so him- 
self. Now, after two years in California, he was brown 
and husky. He had been living with a college pal of his 
and the pal's mother — the Baldwins, in their home. He 
had his meals there with the family ; he also dropped in 
often at his fraternity chapter house, the Phi Kappa Psi. 
He swam and rode and played tennis. He even had a 
dog. In short, he was everything a juvenile picture 
actor should be. 

Paramount said : "My boy, you're a star — on one 
condition." 

Young Mr. Rogers still did not flinch. "Yes, sir?" 

"You'll have to drop that 'Buddy.' It won't do for a 
star. Make it Charles Rogers, my boy." 

Buddy Goes By the Board 

VY/hereupon Mr. Rogers turned a couple of hand- 

springs and cart-wheels. Nothing would please him 

more than to give Buddy Rogers a good, hard kick. He 

had had about enough of Buddy. He was, after all, 

(Continued on page 85) 

51 



Laurence Reid 

Reviews 

rHE New Photoplays 





THEY'RE not making them 
bigger and better for Emil 
Jannings, but they are mak- 
ing them sufficiently colorful to 
pass muster with moviegoers who 
demand and expect unusual pic- 
tures from the screen's most dra- 
matic actor. The hew number, 
"The Street of Sin," is not another 
"Way of all Flesh," nor does it carry 
the emotional tug of "The Last Com- 
mand." But it should prove satisfac- 
tory, seeing that Jannings cannot be 
expected to decorate one masterpiece after 
another. 

Here I find him in something reminiscent of Thomas 
Burke's Limehouse stories, since his characterization is a 
bounder of the London slums. He makes his study com- 
pletely fascinating, yet it isn't one which lingers in the 
mind,, principally because it lacks dramatic quality. The 
hulking figure of Basher Bill, with the leering face, is found 
living with a girl of easy, virtue. In the course of events 
he runs across an appealing Salvation Army worker and 
straightway gets religion. After he is shot in a police raid 
he advises the blonde (the girl of his erstwhile love life) to 
join the Army. And so he checks out permanently. 

It is atmospheric enough to color the characters and it is 
played with good feeling by the star, Fay Wray and Olga 
Baclanova. Whatever its shortcomings as a story, there is no 
doubt about Jannings making it hum with life. 

Here's to Crime 

C" VER since "Underworld" came through with flying colors, 
^-^ most every producer, including its particular sponsor, 
has been trying to duplicate it. The results have been fair. 

52 



The newest film to approach it is "The Drag 
Net," and it does sing a song of the under- 
world — and ^ings it pretty well. But it lacks 
the punch of the other picture, even though 
the same man, Sternberg, directed it and Ban- 
croft is featured. The director hammers 
home his melodrama so that scenes which 
would be effective are spoiled through too 
much repetition. 

It also lacks the realities of "Underworld." - 
But it tells a good crime story of a hard-boiled . 
detective who gets his men after being framed 
for murder. The effort to bump him off calls ; 
for plentiful thrills and action. And since it 
boasts a cast that knows what it's all about, 
the suspense is carried on all the way. So 
I chalk up a good mark opposite v 
George Bancroft — and a couple ; 
more opposite Evelyn Brent and | 
William Powell. All three 
can drink here's to crime. 



At the top are Ernest Tor- 
rence and Buster Keaton 
hanging on the rope. As the 
skipper and the crew of 
"Steamboat Bill, Jr.," they in- 
ject joy into the picture. At 
the left is Alexis Davor, a 
Russian actor, in "The End 
of St. Petersburg." Below are 
Charles Farrell and Greta 
Nissen, who make "Fazil" an 
erotic picture 








rltic 



Boating With Buster 

'T'ake it or leave it lay, but this Keaton man 
*■ has a real comedy in "Steamboat Bill, 
Jr." The stony-faced one likes to play 
around in the Southland. Having piloted an 
engine in Dixie, he now takes to piloting a 
steamboat on that ol' man river. And 
around the conflict between Buster's dad, 
played with fine humor and feeling by Ernest 
Torrence (his gift of comedy is as rich as 
his gift of emotion), who owns one of the 
boats, and a business rival who owns the 
other, the piece is up to something every 
minute. 

For romantic purposes the heroine 
is the daughter of the rival and it 
is Buster's job to win her and 
end the feud. It is all told 
with good restraint yet 
moves merrily from one 



THIS MONTH 

The End of St. Petersburg • 
Fazil The Drag Net 

Steamboat Bill, Jr. Tempest 

The Street of Sin 



At the top are Camilla Horn 
and John Bairymore, the 
former making her American 
debut in supporting the other 
in "Tempest." At the right is 
George Bancroft, who playa a 
go-get- 'em detective in a 
crime melodrama, "The Drag 
Net." Below are Emil Jen- 
nings and Fay Wray enacting 
an emotional scene in "The 
Street of Sin" 





Miehle 



bright scene to another. To indi- 
cate that it doesn't depend en- 
tirely upon comedy, you can stir 
up much su.spense over the ef- 
fort of the elder Steamboat Bill 
to thwart his rival. His boat has 
been condemned and in a rage the 
skipper turns on his enemy and is 
jailed. So along comes Buster hid- 
ijig a young hardware store of tools 
in a loaf of bread in his effort to effect 
the old man's freedom. That's one of 
the highlights in a picture saturated with 
them. It travels high and shoots forth peals 
of laughter. It's one of the best Keaton' has ever 

A Good One From Russia 

'X'hose very serious Russians are at it again demonstrating 
*• anew an adaptability for screen technique. They are not 
bound up with things commercially, rather are they in'^ent 
upon making movie art for art's sake. So "The End of St. 
Petersburg" cannot be expected to have a general appeal. 
But it should be seen, if for no other reason than to follow 
the Russian style of production. 

The picture is interesting, not only for its vivid account 
of the early days of the Russian Revolution, but also for its 
dramatic strength, furnishing as it does some real excite- 
ment. The idea is simple enough as all ideas must be which 
contain drama and movement. No one can possibly read 
propaganda into it. 

But those looking for a message will be disappointed 

toward the concluding scenes. It does let down considerably, 

at the end. Had it finished the way it started, it would have 

created a real sensation. As it is, one will find a film that 

{Continued on page 88) 

63 





,1^ 



Sub- 
Divided 

Skirt 



Rain, rain, don't go 
away, for here is Do- 
lores Costello correctly 
turned out as the orig- 
inal yachtswoman in 
the year of the Flood. 
She is dressed as she is 
for her part in "Noah's 
Ark"; and while some 
might take her to task, 
we ourselves have Noah 
cause for complaint 



Russeil Ball 



54 



Jean Hersholt Believes Lasting 

Favor Goes Only to Those Who 

Keep Being Somebody Else 

By Hal Hall 



IF Jean Hersholt had taken the advice that is usually 
handed out to actors, he would probably still be 

over in Copenhagen, Denmark, painting portraits. 

"Be yourself," is what they all tell you. But Hersh- 
olt says that is the surest way to lose out in pictures, 
so far as the men are concerned. 

"Be yourself and fade off the screen in three or 
four years," says Jean. 

"Be something else and you can go on forever, or 
at laast until you are too old to put on the grease 
paint." 

Hersholt ought to know. His publicity man de- 
clares that he has played one thou- 
sand and one character roles on the 
screen. But publicity men are 
prone to stretch things, so we 
looked them over and did find to 
our own satisfaction that this char- 
acter actor has actually appeared on 
the screen in more than one hun- 
dred absolutely different characteri- 
zations, or types — and it woukl take 
a keen eye to figure out that the 
same man played all the roles. 

Today Hersholt, after twelve 
years in pictures, is one of the most 
sought after character actors in 
Hollywood, and apparently his 
work and skill in make-up is im- 
proving, for while playing the lead- 
ing Jewish role in "Abie's Irish 
Rose," he did such a good job of it 
that the trustees of the Jewish 
Cemeteries of Hollywood sent him 
a special invitation as one of "Hol- 
lywood's leading Jewish residents" 
to purchase a burial plot in 
the cemetery and have his 
i)Ones laid to rest there when 
he has completed his span of 
years. 

From top to bottom: Jean Hersh- 
olt as himself, and as he ap- 
peared in "It Must Be Love," 
"Don Q," "Elverhoj" (a stage 
play), "A Woman's Faith," "Jazz- 
mania," and "Abie's Irish Rose" 



Freulich 




And the best part of 
this invitation is the fact 
that a Jewish Rabbi, him- 
self one of the trustees, was present on the 
set as an adviser during all the time Hersh- 
olt was working, and never once realized 
that Hersholt is a Dane, born in Copenhagen, 
raised there, educated there, trained there on 
the stage, and was unable to speak a word 
of English, or Jewish, when he first stepped 
foot on American soil in 1915. 

His Head Still the Same Size 



^XE gets a pretty fair idea of the type of 
^-^ man Hersholt is by his reaction to this 
very unintentional compliment. Unlike so 
many actors, his head did not swell. 
Instead, he feels very sorry that these 
good people made a mistake and hesi- 
tates to inform them of it. 

"It is really a shame," he said, "that 
they should have been so fooled. I 
certainly appreciate the compliment 
they have paid me, but I don't know 
how I am going to explain without 
hurting their feelings." 

Hersholt has a rare combination of 
(Continued on page 84) 



55 



ues 



A straight line may 
be — in fact, is — the 
shortest distance 
between two 
points. But when 
there are such 
curves to follow 
as Doris Dawson's, 
who wants to 
hurry? 




ijackh 



ones of 



i. 




Laced up to the neck is this 
costume for midsummer 
wear, adopted by Anita 
Barnes. Yet it is comfort- 
able and permits of an easy 
freedom of movement 



Richee 




Above are two backgrounds of 
beauty — the one a floral design 
provided by the photographer; the 
other a natural one, the property 
of Marietta Millner 



A side of Doro- 
thy Sebastian all 
too infrequently 
revealed is that 
shown at the 
right. And it is 
hardly one to be 
ashamed of 




R. U. Louise 



56 



the 



Industry 




Can it be that Sylvia Beecher, 
at tlie left, is revertebraiiig to 
type? If so, we can only hope 
that the change back will be 
permanent 






I 



«'»> ^ 



R. H. Louise 



Turning a shoul- 
der, but not a cold 
one: Sally Phipps, 
silhouetted at the 
left against a white 
fan, smiles in the 
face of pneumonia 




Autrey 



Next to sables, Jane Laurell— who's 
been reading advertisements she 
shouldn't— says she likes herself best. 
And proceeds to show what she means 
by it 




// 



/ 



f- 



Carsey 

In one way, it's tough on the suitors who 

sue for Sue Carol's hand that she turns her 

back to their proposals. But the gesture 

is not entirely without its compensations 



.^L 



fli^WT^ 




Autrey 




I'M afraid we Hollywood 
wiseacres have to admit 
that there are plenty of nice, 
innocent-looking dames facing 
the cameras who do anything but 
live up to the day-dreams woven 
around them by their stripling fans 
in the schools and colleges. In Hol- 
lywood the female face is worn as a 
mask. 

Caryl Lincoln adds to her other 
old-fashioned virtues that of wearing 
her face as a face. Perhaps it is this 
innovation (for Hollywood) that is 

moving Caryl so quickly up to the top of her profession. She is 
acquiring a staggering volume of fan-mail from youthful ad- 
mirers, after only two years in pictures. From colleges and 
other institutions for the sons of gentlemen, letters pour in 
upon Caryl, assuring her that she is the embodiment of every 
shining ideal of womanhood. She has correspondents who 
declare that they write to her every Sunday and mail the letter 
with the weekly one to mother. This is very touching — and 
Caryl is touched. 

She lives in a tiny bungalow at the back of a court on a Holly- 
wood side-street. After showing you round, she produces her 
two prize exhibits — a stack of Christmas greeting-cards from her 
unseen correspondents, which to her are the most touching of all 
their affectionate manifestations; and her husband. He is a tall 
and strapping publicity man, answering to the name of Brown. 
They have been married less than six months, and their marriage, 
according to Caryl, is "great fun." 

68 



s Nice As ' 

She Looks 



Collegians and Cowboys Think 

Caryl Lincoln Is The Berries — 

And She Is 

By CEDRIC BELFRAGE 



r Bathroom Ballads 

Che is a nice sort of girl to have about the house. 
*^ Waiting for the "big break" that she hasn't had yet, 
she never doubts it is coming. Her climb up the first 
rungs of the ladder has only whetted her natural zest 
for life and living. Her brown eyes sparkle with it. 
The angle of her hat and the fit of her dress are full 
of it. She undoubtedly sings in her bath.* She is not 
the type to flaunt a synthetic personality for the benefit 
of the world and proclaim herself full of weird com- 
plexes against black cats and thirteen in a bed. She 
stands or falls by her face. It is the face of a darned 
nice girl, and Caryl is a darned nice girl. 

Delving into her history, one discovers that she was 
born in Oakland, and that her father was reading a book 
about a girl named Caryl at the moment when they 
rushed in and shouted : "Mr. Lincoln, it's a girl !" This 
got him so excited that he hurled the book into the air 
and swore that her name should be Caryl. 

The oddly named offspring grew into a comely looking 
girl, with the inevitable result that when the Lincolns 
came to live in Hollywood, she felt the urge of the 
(Continued on page 86) 



^ 




A young gentleman 
to whom feminine 
fans are drawn as 
irresistibly as filings 
to his metallic name- 
sake. Bob Steele is a 
new player in stories 
set in the West, 
Southwest and 
South-Southwest and 
other areas where 
adventure and dar- 
ing grow wild 




agnetic 



59 




Alexanaer 



This youngster's name, Manrice Murphy, is, let us hope, 

in the nature of a tentative title. For it hardly suggests 

his very earnest ability — which he proves in "Heart to 

Heart" 




Uachracb 



Just what atrocity "The Perfect Crime" includes, we are 
not as yet aware of. But there can be no question but 
that the element of perfection is contributed by th« pres- 
ence of Gladys McConnell 



L^ooking Them Over 

Close-Ups From the West Coast 



LILI DAMITA said Peggy Hopkins 
Joyce was jealous of her. Peggy 
"^ said she wasn't. Why, she hadn't 
even heard of LiU. "Who is she?" she 
drawled to New York newspaper report- 
ers. Lili tried to refreshen her tneinory 
with headlines. "She get jealous of me 
in Paris because her admirer say pretty 
things to Lili," explained the French 
lady who is going to take \'ilma Banky's 
place opposite Ronald Colman. The fun 
raged merrily for a couple of days and 
then, just to show that there was no more 
hard feelings between their press-agents, 
the girls got together and po.sed for a pic- 
ture arm in arm. 

Lili does not speak English so "goot." 
She has not been long in "thees cawn- 
try." But when Lili does speak — it's 
publicity ! She and mamma coyly 
crowded all the visiting celebrities from 
Hollywood off of the metropolitan 
dailies. H Lili attended a musical 
comedy with Charles Schwab, it was carefully and con- 
spicuously recorded. H Will Hays taught Lih a few 
slang phrases like "O. K.", this also found its way into 
print. 

Maybe, it's Sam Goldwyn's influence. Sam has always 
been the best press-agent in the business. The Lili- 
P'eggy Joyce bout was the best newspaper skirmish we've 
had since Pola Negri wanted to put Gloria Swanson's 
cats off the Lasky lot. All of which, in the present in- 
stance, makes for a good time being had by all. Lili and 
Peggy like the publicity, the newspapers like the copy 
and their readers like to consume it. 



60 




Double-Crossing Divorce 

\/iOLA Dana has made up with 
^ "Lefty" Flynn and the two are living 
together happily in Xew York. Marie 
Prevost and Kenneth Harlan are on the 
verge of patching up their old difficulties, 
and Josef von Sternberg and Riza Royce 
fooled their lawyers by tearing up their 
divorce decree. 

It just goes to show that Hollywood 
doesn't need divorce. A little absent 
treatment will turn the trick. 

Speaking of ^'iola, she has gone into 
vaudeville, and the rumor is that she 
may land on Broadway in a new play 
this fall. 

Peckuliar Tactics 



A good closed job: Greta 
Granstedt as the younger 
Ford Sister in "Ebtcess Bag- 
gage" 



'T'hey say that Janet Gaynor and Lydell 
•* Peck, young San Francisco million- 
aire, are engaged. Which reminds me of 
a little story concerning Janet and Lydell 
when they first met. 

It was a case of love at first sight with Lydell. He met 
Janet one night at the home of the William K. Howards, 
and the next morning he started bombarding her with 
flowers, candy, and what-have-you. That went on for 
about a week. He saw Janet every night but she never 
mentioned the flowers or the books or said "Thank you" 
or anything. Lydell was a little puzzled. He figured that 
she must like him or she wouldn't bother to see him in 
the evenings — then why didn't she say something about 
his little gifts? 

Finally he asked her if she had been receiving them? 



1 



L 





Another Ziegfeld beauty has flown from Flo. Agnes 

Franey, now with Warner's, is the most recent sweet 

Follies-girl graduate to be enticed by the films 



A new Sennetter from California: Matty Kemp. And 

despite the fact that he's been cast for an important role 

opposite Sally Filers, he is democratic 



Out Hollywood Way 



By Dorothy Manners 




"Oh, are all these lovely flowers from 
you?" gasped Janet. "Look!" She 
reached in a desk drawer and pulled out 
five or six cards that had come in the 
flowers. The name engraved was that 
of Lydell's best friend, who had thought 
he would have a little joke by slipping 
his own card into the presents. 

Just a quaint old Hollywood custom. 

Betty Unadorned 

Dkttv Baker felt that some near-nude 
•'-' pictures taken of her and used by 
Harold Dean Carsey, photographer, on 
his personal greeting cards at Christmas, 
should never have been exhibited. She 
felt so badly about it that she sued for 
$100,000, just for the humiliation of the 
thing. 

Carsey entered a counter-suit. He 
said that he photographed only stars and 
that his business had suffered about 
$100,000 because he had photographed Betty — and Betty 
was no star. Both Carsey and Betty took plenty of nude 
pictures down to court and showed them to the jury. It 
was a light smart little session. The jury took one look 
at the pictures and decided in Carsey's favor. They felt 
there was nothing for Betty to feel humiliated about. 

Girls Still Be Girls 

P\OROTnY Sebasti.xn says that some girls in pictures are 
•*- actresses and some are still girls. The right answer 
to ti.at is "What's a still girl?" Then Dorothy comes 
back with : 



Putting the ladies on a pedes- 
tal will forever be a practise 
so long as there are such as 
Sally Phipps 



"A contracted player who moves in all 
the stills and is still in all the movies." 

Tough Breaks 

It's been a tough month on the insurance 
•* companies. 

Anna Q. Nilsson was thrown from her 
horse, like Bebe Daniels and the Prince 
of Wales, and broke her ankle. 

George K. Arthur sprained his playing 
leap-frog. Karl Dane dislocated his 
shoulder. 

Richard Dix is just recovering from 
an operation. 

Lya de Putti burned her hand. 

Lina Basquette broke a couple of ribs 
during the filming of "The Godless Girl." 

Goodness Sex Alive 



HThe Universal Company can go to the 
■*■ head of the class for the snappiest title 
of the month. One of their new movies is going to be 
called "Sex Appeal." 

Wonder how Elinor Glyn happened to miss that one? 

Spuds in Clover 

In a recent picture Norma Talmadge had a scene where 
*■ she had to hoe potatoes all afternoon. By the time the 
day's work was over Norma had done a good farmhand's 
quota of toil. 

"If you think I am going to let all this labor go for 
(Continued on page 87) 

61 



Tftrrrxt-^- '- fi^ij"^'^ 




Jfc 



Home Stretch 



Mrs. Rod La Rocque, known in some instances as Vilma Banky, presents 
her interpretation of an incident symbolizing the name of her next 
photoplay, "The Awakening." The sunlight indicates that this action 
does not follow immediately a Came the Dawn subtitle. But Vilma 
seems undisturbed by her tardiness; her motto being, we presume, bedder 

late than never 



them? 



62 



(ciddie 



Props Up 



Young Mr. Nugent Achieves 
An Actor's Estate 

By GRACE KlNGSLEY 

DID you take any of the pretty picture actresses out 
in those days?"' 
"I should say not! A property boy's salary 
doesn't run him into any danger of burning up Broad- 
way !" 

Eddie Nugent placed a big upholstered chair for me on 
the set, down at the Metro-Goldwyn-Mayer studios. 

"It isn't the first time I've moved a chair, you know." 
he grinned. 

Eddie isn't a property boy any more. He is that type 
of flaming youth known as a juvenile lead. 

"But even now if somebody yelled 'Props' behind me," 
he smiled, "I'd probably start moving something!" 

Eddie is svelt and trim and slim, with a sensitive, ex- 
pressive face and a tremendously engaging smile — not a 
bit like the beefy vaudeville ideal of a piano mover. I 
don't think a person like Eddie ever would get away from 
being a property boy, if he had the least bit of an in- 
feriority complex. 

■"I didn't, you see," he explained cryptically, "let any- 
body upstage me ! If you don't pay any attention to them, 
you can't notice it, now can you? If you are ordered out 
of a house and you are going anyhow, it doesn't matter, 
does it ?" 

So it wa'^n't big-hea'!, but a sense of humor that kept 
Eddie afloat through the tough prop days, one read 
between the lines — that and an entirely level-headed faith 
in himself. 

"Even property boy jobs aren't so easy to get," he went 
on. "I hopped the studio fence to get my job as props — 
and it was a barbed wire fence, too !" 

"Didn't you fall in love with all those lovely stars you 
propped for?" I asked. 

"Surely ! 'Course I did ! Used to fall in love with 
them all — from picture to picture ! I used to wonder 
what it would be like to take tho.se marvelous girls out. 
But I find I don't care much for the night life, after all. 
Funny, isn't it?" 

"Well, I suppose you paid them a lot of individual 
attention ? And were they nice to you ?" 

"(3h, yes ; they were dandy ! As for individual atten- 
tion, you don't have much time for that when you are 
moving pianos and building bonfires and sticking feathers 
in Indians' hair!" 

I thought, as I looked at Eddie's engaging smile, which 
is like Gardner James', exactly, that, even with a bit of 
dirt on his nose, with grimy hands and clad in overalls. 
12 must have been attractive, with his well-bred ways 

nice personality, 
to ti.vrln't been able to think, for several minutes, whose 
back Wi'^ie's was like — puzzled over it. 





"Probably Lillian 
Walker's," Eddie 
grinned engagingly. 
"She had dimples, 
too, you know!" 

Just where is the 
difference between 
being a property 
man and being an 
actor playing lead- 
ing juveniles? How 
does a beauteous star 
treat the juvenile in her 
picture who once rustled 
props for her and set her chair where she wanted it? 

Eddie can tell you. But you'll be surprised. 

The Lowest Form of Studio Life 

A PICTURE property man is supposed by the pubhc to 
•** be the lowest form of animal Hfe with the exception 
of an extra. It is supposed that a director, sitting high 
on his throne, would just as soon feed a prop boy as a 
chunk of meat to a lion ; that even a cameraman crushes 
the life out of a property man same as he would kill 
an ant. 

But there's just something we've all overlooked. That's 
the essential humanness of film folk, a happy-go-lucky 
good-heartedness, a spirit of taking everything as it comes, 
and most of all, of recognizing merit wherever it may be 
found, and there are many clever property boys. 

But there's balance, too, now that Eddie has risen. 

"If I ever started getting the big-head," remarked 
Eddie, "there are a lot of my old pals, the property boys 
and electricians, to take it out of me." 

"But there must be a difference in the way you are 
(Continued on page 90) 

63 




1/, I'/iv '■', 





Julian Aucker 

There are girls whose charm places them only on the fringe of beauty, but Audrey Ferris is 
not among them. In fact, if our eyes are to be credited, the fringe of beauty is upon her. Her 
loveliness has, in a remarkably short time, brought her to prominence, although not without 
many a discouragement and more than one instance of hardship, which evidently doesn't 
matter now to Audrey. She shows that she knows that shawl's well that ends well 

64 



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R. H. Louise 
Joan Crawford's arms are a good fit around Johnny Mack Brown's neck in 
thb scene from "Our Dancing Daughters" 



Bonenalabahmah 

{Continued from page 42) 



for believe me, brother, you're all wrong. 

Across a studio luncheon table, Mr. 
Brov.Ti indicated that the interview was 
now under way. by announcing politely. 
"Ah wuz bonen Dothanalabama-ma'am." 

'Thank you," I replied, embarrassed, 
"but I really prefer a fruit salad." 

This didn't seem the correct answer, for 
Mr. Brown looked >'astly troubled. Pres- 
ently he ventured, ■'.\h saved Ah wuz bone. 
Bone, ma'am." 

Came dawn, bringing with it the an- 
nouncement that Johnny Mack Brown was 
bom. There seemed no logical reason to 
dispute this, so I suggested that he order 
some alphabet soup and sptell Dothan. I 
rather hoped he would cut out the 
"Ma'am," which makes one feel a bespec- 
tacled forty-, but it's no use being too fussy. 

He then related, as I already have, his 
advent into motion picture circles. Re- 
ferring to the .Mabama-W'ashington game, 
he said, "Ah wuz glade we won that game, 
ma'am. Wash'n'ton had a fine team and 
the folks hahdly expected ouah Southahn 
team to make a good showin' against it. 
But we felt theah sympathy was with us. 
anyway, and we wuz proud to win." Inci- 
dentally, Johnny's team tied our Stanford 
boys. Alabama could play football all 
right, with Johnny Mack Brov^•n along. 

"Hollywood seems a silly place for you." 
I remarked. And it does. "Do you feel 
at hotne here, with grease-paint on your 
face ?" 

".\h don't mind," he replied serenely. 
"Theah's nice folks heah. But Hollywood 
does seem less pe'manent than Dothan. 
wheah evbody knows ev'body else. Down 
South, families stay in the town wheah they 
wuz raised, but the folks in Hollywood 
have come from everywheah. Ah've not 
met anyone who was bone heah." 

I promised to introduce him to Thomasina 
Mix and Gloria Lloyd, the "grand old 
ladies" of the film capital. 



Ladies and Gentlemen — 

pE.\HixG that what he had said might be- 
construed as criticism of the grease- V 
paint village, the polite Mr. Brown added", 
"Theah ah gentlemen an" ladies heah, just 
as theah ah in Dothan. Down home .\\\ 
always went to see the pictuahs that " 
Ronald Colman and \"ilma Banky made. 
They took such gentlemanly and lady- 
like pahts." 

I'm not fooling you. That's just what 
he said. 

"Mistah Bahthelmess is a gentleman, 
too," he continued. ".Ah have the pleasuah 
of his acquaintance." 

"^^'hat do you think of the HollyTVOod 
girls, or is there a girl back home?" 

"Thea's a girl back home," said Johnir 
Mack Brown, and paused, evidently tun;- 
ing some problem over in his mind. The:; 
with firm honesty, "Ah married he 
maam." 

His wife will never grace the screen bt 
cause, as he explained. "Down home w 
believe that a wife's place is in the home 

On further prodding from the "ma'am. 
Alabama's former football hero related 
that he had been educated for a busine<> 
career. Xo thought of stage or scree:. 
ever entered his handsome head until 
Hollywood literally reached out and 
grabbed him. Now that he is here, he 
likes picture work and hopes to be a 
"stah," known in the vernacular as "star." 

And stardom may come to him. He 
is doing very well as leading man for 
such celebrities as Marion Davies, Madge 
Bellamy and. at present, Joan Crawford. 
The camera is very kind to him. In a 
casual meeting he leaves the impression 
of being a big. slow-spoken, mild young 
man, but en the screen as on the football 
field, he radiates pep and the good old sex 
appeal. His vitality is switched on and off; 
like an electric light. 



70 



Secret History of the 
Month 

(^Continued from page 35) 

Hideous thought suggested by First Na- 
tional's publicity experts: 

"More than fifty thousand title cards 
have been used in titling First National 
Pictures during the past year. Laid edge- 
to-edgc in a thirty- foot roadway, they 
would pave it for a distance of more than 
two miles." 

Gastronomic note from FBO shedding 
new light on the stuff of which the female 
Prowling Columnist — and presumably her 
column — is made: 

"Louella Parsons, nationally popular mo- 
tion picture columnist, and Jimmie deTarr 
paused to stock up on hamburgers at the 
FBO studio lunch stand before calling on 
Lance Heath, newly appointed publicity 
director." 

Touching faith in Ultimate Good as ex- 
hibited by Mary Aiken Carewe, divorced 
wife of Edwin Carewe, the well-known 
director of Dolores del Rio; from perse- 
vering Nancy Smith: 

"Mary Aiken Carewe has turned editor 
of a beautifully complied magazine, 'Cali- 
fornia Review.' 'I want to write and create 
beautiful things,' she says. 'My magazine 
will send the beauties of California, and 
the true story of motion picture making 
into the world. So much has been written 
of the sensational, that I want to tell of 
the good that exists in Hollywood picture 
life.'" 

Making history at Universal City, as re- 
ported by Sam Jacobson of that celluloid 
burg: 

"Ansel Friedberger, Universal director, 
could relate a tale of hardships equal to 
the best. It took him two years to get 
inside the studio and two years more to 
get his first film job." 

Demoralizing effect of movie actresses 
on otherwise respectable Washington ex- 
ecutives: 

"Marion Templeton, at present playing 
in "The Woman Disputed." was the late 
President Harding's mascot. The night he 
was elected, little Marion was at the Hard- 
ing home with her mother, and when the 
news came over the wire that Mr. Harding 
had been elected, he gathered the girl and 
kittens with which she had whiled away 
the waiting hours, into his arms, and an- 
nounced that she was to be his mascot." 

This month's contribution to grammar 
(from Mr. Fox's publicity workshops) : 

"No celebrity who has come to Holly- 
wood has received such attention . . . 
than Harry Collins, famous arbiter of 
fashion." 

Proclamation from the proud House of 
Tiffany 

"Alice White has a head that has lots in 
it. When she read the script of 'Lingerie' 
and found herself a French girl, she called 
on her pal, Barbara Leonard, who, by the 
way, was educated in France, to come on 
over and give her a few lessons on how to 
speak her titles in French. Alide is now 
'we we we we weing' all over the set, and 
George Melford is delighted with the idea 
and the convincing touch it will give the 
picture." 



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The price of pride: Jaime del Rio didn't want to be known as Dolores's 
husband. So now he's her former husband 

The Lowdown on Divorce 

{Continued from page 23) 



She laughed and went on, "All my life 
is like that. I cannot go back to the old 
Mexican ideas that I used to believe in. I 
used to think divorce was terrible. Now I 
can see it is absolutely necessary in the 
life of an American woman." 

Then Dolores gave voice to a sentiment 
that I'm afraid you're going to recognize 
as something you've heard before. She 
looked up with her fearless, glowing eyes ' 
and said, "I adore my career. I would 
give up not only love, but everything, for 
it. And my divorce has made me free to 
dedicate my life to my work." 

But she spoke with all the fine sincerity 
of Merton when he prayed, "Please, God, 
make me a good movie actor I" 

She hurried on to explain, "Before, I 
was unhappy in my work, because there 
were so many things I couldn't do. I 
knew Jaime would not like them, and I 
was afraid all the time. But now I feel 
sure of myself ; I can give myself com- 
pletely to my work and I am happy." 

Jaime's Jealousy 

I REMINDED her of Jaime's great inter- 
est in her career two years ago. "Yes," 
she agreed, "at first Jaime was very much 
interested. That was when I was just 
beginning and was not at all important. 
But as soon as I had my first triumph, his 
attitude changed. He resented my suc- 
cess. He was a typical Latin husband and 
had always known me as the submissive 
Latin wife. He couldn't bear my success, 
and he hated being known as 'the husband 



of Dolores del Rio.' Latins are not ac 
customed to this. They are brought up to.i 
think they are master, and they will not be', 
anything else. Their wives are only chil- 
dren. Why, the first thing a Mexican man 
does when he marries is to take all his 
wife's money away from her I What 
American would dare do this to his wife !" 

She looked up with a challenging glance, 
then rushed on, "When I first came here, 
I had been like a baby for so many years, 
I couldn't even make a cheque. Jaime had 
to take care of all my money. Now I do 
everything myself. I won't have any help. 
I love being like a man and managing my 
own money; I take a big kick from mak- 
ing cheques, you know !" ■ . 

She seemed to find something extremely 
bracing and invigorating in the state of 
being divorced. She glowed and breathed 
a little faster with the sheer joy of being 
free. 

"Then Jaime thought he would do some 
work of his own that would bring him a 
success equal to mine. He started to 
write, and I was so glad because I thought 
he wouldn't be jealous any more and we 
would be happy again. But he wrote 
script after script and didn't sell them, and 
he blamed me for his failure. He said if 
he could only get away from this awful 
place, where he would not be known as 
Dolores del Rio's husband, he knew he 
could succeed." 

She paused, and I knew this was going, 
to be L'envoi. 

"So he went to New York," she said 
finally. "And I hope now he is going to 



72 



make a name for himself. But we realized 
it could never be different for us and 
agreed to a divorce. I love Jaime and he 
loves me, but we cannot be happy together. 
We are good friends — but I can never be 
a Latin wife again, and he i? too much a 
man to be a movie star's husband." 

We paced up and down in the sun. In 
a few minutes Dolores went on thought- 
fully, "I understand how he felt. He was 
right. And I was right, too. It was no 
one's fault. A woman cannot do two 
things successfully, of that I am sure. 
One, yes, but not two. And my one is my 
career. 

"There may be exceptions to this rule. 
But the exception would have to be an 
American man who would understand 
better and allow his wife her share of im- 
portance and freedom." 

"As a matter of fact," I remarked, "it 
isn't a question of nationality at all. The 
Latin husband and the American husband 
are exactly the same, when their dignity 
and supremacy are threatened. I think the 
exception would have to be a man who 
was just as important as his wife, in some 
equally distinguished way." 

"Yes," she agreed eagerly, "someone so 
sure of his own success that he would 
have no reason to be jealous." 

The irony of it all is that Dolores is 
turning back to the very thing from which 
she has been at such pains to escape — the 
domination of a man. That is, if there is 
any truth in Hollywood's favorite rumor 
that she will marry Edwin Carewe. For 
he is the man who discovered her, who 
made her and who, it is said, completely 
dominates her life. 



How to Tell Clara from Sue 

(Continued from page 29) 

Under the insignia of college fraterni- 
ties, or the heading of prep schools and 
high schools, Sue's fans write, reproaching 
her for "spoiling their ideal of her" and 
"disappointing (with varying numbers of 
s's and p's) her admirers by posing for 
cheap and commonplace pictures." "As 
soon as a girl allows herself to be pictured 
in a bathtub or an abbreviated negligee," 
rep'oves "George" from a famous military 
school, "she is dumped into the 'movie 
broad' class." "You are too sweet and nice 
for such vulgar poses," cries "Bill" of a 
Middle Western State University; and 
"Please write and promise me," begs 
"John" of the PW Delta Theta, "that you 
will stop posing tor these obscene photo- 
graphs so that you will continue to repre- 
sent to the young men of the nation all 
that is pure and modest." Middle-aged 
men and old ladies write Sue long letters 
of advice, warning her against the pitfalls 
of wicked Hollywood. 

Clara's fan mail bears out the often 
repeated statement that she possesses a 
great deal of "It." Much of it is love 
letters and mash notes. But whenever the 
Bow makes a picture with an unhappy 
ending, a storm of protest arises. "We 
don't want to see you suffer," her fans 
complain, "you stand for happiness to us. 
Please don't die in your next picture. Keep 
on laughing and dancing." 

If people are the result of their upbring- 
ing and environment, no two girls could be 
more different than Clara Bow, child of 
the Brooklyn public schools, and Sue 
Carol, product of expensive finishing 
schools and Chicago society. While Clara 
was growing up in poverty, hopelessly 
yearning for new dresses and the pretty 
things other girls had, Sue was traveling 
in Europe, making her debut, and living 
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BOB — Robert Frazer v^as born in Wor- 
cester, Mass. Don't believe Bob ever 
lived in Greenville, Ala. Stage experi- 
ence in "Ben-Hur," "The Wanderer," 
"Thy Natne is Woman," etc. He is six 
feet tall, weighs 170 pounds, dark-brown 
hair, brown eyes. You bet, we have a list 
of the stars with addresses and their latest 
pictures, which appears every month in 
our Motion Picture Magazine under the 
department "In the Starry Kingdom." 
Ivan Mosjukine. the foreign player, is 
appearing in "The Loves of Casanova," a 
French-made film released by- Metro-Gold- 
wyn-Mayer. 

A JAZZY BRUNETTE— All the way 
from Texas. Babe Daniels, James Hall, 
Florence Vidor, Corinne Griffith, Jacque- 
line Logan, Bessie Love and a score of 
others also hail from your state. Nils 
Asther was born in Sweden about twenty- 
seven years ago, he is six feet tall, weighs 
170 lbs., dark hair and eyes. His latest 
picture is "Dancing Daughters." Your let- 
ter will reach him at the Metro-Goldwyn 
Studios, Culver City, Cal. Ramon No- 
varro was born in Durango, Mexico, Feb. 
6, 1889. Write him also at Metro-Goldwyn 
Studio. 

M. E. I. — Better wait a while before con- 
sidering that movie career. Rod La 
Rocque can be reached at the De Mille 
Studios, Culver City, Cal. His latest 
picture is "Love Over Night." John Gil- 
bert at the Metro-Goldwyn Studios, Culver 
City, Cal. "Four Walls" is his latest and 
Joan Crawford plays opposite. Richard 
Dix "Warming Up." Write Richard at the 
Paramount -Famous Studios, .5451 Marathon 
St., Hollywood Cal. Gloria Swanson was 
born March 27, 1897. Mary Brian, Febru- 
ary 17, 1908. Tom Mix, January 6, 1879; 
Mary Pickford, April 8, 1893. Lia Tora 
can be reached at the Fox Studios, 1401 
No. Western Ave., Los Angeles, Cal. 

ANXIOUS FROM L. A.— Rex Lease was 
born in Central City, Va. He's five feet ten 
inches tall, married to Charlotte Merrian. 
Write Charles Morton at Fox Studios, 1401 
No. Western Ave., Los Angeles, Cal. Fred 
Humes is five feet ten inches tall, write 
him at Universal Studios, Universal City, 
Cal. The first male idol of the screen in 
this country was Arthur Johnson of the 
old Biograph Company. Monte Blue is 
married to Tove Jansen. She doesn't play 
in pictures, but her mother, Bodil Rosing, 
does. She's appearing in Pola Negri's next 
picture, "The Lady from Moscow." 

BRIGHT EYES— Hoot Gibson was bom 
July 21, 1892, at Tekamah, Neb. Too bad 
but he's married to Helen Johnson, they 
have a daughter Lois. Write Hoot at Uni- 
versal Studios, Universal City, Cal. Tom 
Mix is married to Victoria Forde. Tom's 
having a fine time in vaudeville right now. 
Write Larry Kent at First National Stu- 
dios, Burbank, Cal. Send me twenty-five 
cents each for photos of Larry and Rin- 



Tin-Tin. Antonio Moreno is playing in < 
"The Midnight Taxi." Write him at War- 
ner Bros. Studios, 5842 Sunset Blvd^ 
Hollywood, Cal. 

ANNIE — Glad to hear from you agaia j 
Leila Hyams was born in N. Y. C, May 1, | 
1905. She is the daughter of John Hyams ' 
and Leila Mclntyre, well-known vaude- ; 
ville and stage stars. When a child, she 
played with her parents in "The Girl of 
My Dreams," a vaudeville sketch, for four 
years. Leila is five feet five inches tall, 
weighs 118 pounds, and is the lucky owner 
of golden hair and grey eyes. Write her 
at the Warner Brothers Studios, 5842 Sun- 
set Blvd., Hollywood, Cal. 

OLD FAITHFUL— Who me? Jame« 
Hall was born in Texas, October 22, 1900. J 
He's five feet eleven inches tall, weight 
156 pounds, brown hair, blue eyes. Send 
your note to the Paramount Studios, 545t 
Marathon St., Hollywood, Cal. Ruth Tay* 
lor is playing opposite James in "Just 
Married." Write me in regard to photos 
of your favorites. 

BROWNE — There are several thousand f| 
actors and actresses in Hollywood, but how-^. 
ever, you can reach the following at th&tl 
First National Studios, Burbank, Cal. J/J 
Billie Dove, Lloyd Hughes, Corinne Grif-! J 
fith and Mary Astor. Richard Dix and ClaraM 
Bow at Paramount Studios, 5451 Marathon^} 
St., Hollywood, Cal. May McAvoy,^ 
Mvrna Loy and Dolores Costello, WarnerSj 
Bros. Studios, 5842 Sunset Blvd., Holly-', 
wood, Cal. 

JUST BILLIE— Lon Chaney has beenti 
playing in pictures about eleven years, one' 
of his first pictures was "Fires of Rebel*; 
lion," released by Bluebird Pictures im 
July, 1917. Dorothy Phillips and Belle 
Bennett played opposite. 'Thomas Meig* 
ban's latest picture is "The Racket " and' 
Marie Prevost plays opposite. George vj 
and Eugene O'Brien are not related, , 
Eugene is touring in vaudeville right now. i 
William Haines was bom in Virginia, \ 
January 1, 1901. ' 

D. B. F. K. R.-^That's only half of your i 
initials, couldn't print the rest. Richard 
Barthelmess was born in N. Y. C, May 6. 
1895. He is married to Jessica Sargent, 
latest picture is "Wheel of Chance." You 
bet he's popular. The average moving pic- 
ture theater shows about 175 feature pic- 
tures in a year. Drop in again. 

RITA O'DONAL— A jaywalker should 
be seen and not hurried. Yes, I've seen 
the new Fords, they look great. Loretta 
Young is- fifteen years old, she played 
opposite Lon Chaney in "Laugh, Clown, 
Laugh." Philippe de Lacey is ten years 
old, his latest picture is "4 Devils," 
and you may write him at the Fox Studios, 
1401 No. Western Ave., Los Angeles, Cal. 
Gary Cooper and Fay Wray have the leads 
in "The First Kiss." 



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Overtime Acting 

(Continued from page 17) 

When John Gilbert was interviewed 
shortly after his divorce from Leatrice Joy, 
he states that Leatrice acted all the time. 
It must have been terrible, their married 
life, with two people acting at the studios 
all day, and then coming home and act- 
ing around the house all evening. Oh, yes, 
John is a great actor, too, with his per- 
petually buoyant, zestful pose. They say 
he is buoyant and zestful even about the 
grapefruit in the morning. 

Hollywood has its own social set of film 
stars, and there are inner circles, as in the 
four hundred, if such an archaic thing 
really exists nowadays. Whenever a list of 
names is printed in the society columns of 
Hollywood. Billie Dove's name usually 
appears. H there have been several parties 
that week, Billie's name appears several 
times. In fact, she comes near being the 
local Mrs. Astor. Yet, the other day, Billie 
said in an interview, that, while working 
on a picture she always vt'ent to bed very 
early. There are a lot of people in Holly- 
wood who will be surprised to know that 
Billie even lias a bed. 

Elinor Glyn's ability to stage an inter- 
view is nothing short of miraculous. Of 
course, Madam Glyn is not a star, but 
there are plenty of people in Hollywood 
that believe she could give some valuable 
advice to the most accomplished actress. 

When Madam Glyn was living at the 
.'\mbassador in Los Angeles, she had an 
apartment furnished for all the world like 
the boudoir of the exotic tiger lady in 
"Three Weeks." There was no tiger skin, 
but there were low divans upholstered in 
lavender and green and an abundance of 
stagy lacquered furniture. Madam sat her- 
self on the lavender couch and rested her 
elaborately coiffed auburn head against a 
green cushion. A stunning color scheme. 

Madam Glyn has always been a clever 
showwoman. and the writers regard her 
as "good copy." Sometimes, however, she 
carries the grand dame manner too far. 

A young woman writer, a famous in- 
terviewer on a Los .Angeles newspaper, 
once told me of meeting her. As the in- 
terview ended. Madam Glyn rose majesti- 
cally from the same lavender divan, 
e.xtcnded a cool hand, and murmured 
encouragingly : 

"Do not be discouraged. Remember, 
that even a working girl can become a 
duchess." 

Charlie Chaplin's off-screen big moments 
are the most insidious of all. He is such 
an adroit and knowing actor. Charlie 
knows just what pose to adopt for each 
and every interviewer. He can be sar- 
donic, tragic, a business man, a man of the 
world, the dreamy genius, all in his reper- 
toire, and they can be called forth without 
a second's rehearsal. 

So it goes. The women are invariably 
worse than the men when it comes to over- 
time acting, except in the case of very 
young leading men. The youngsters are 
usually not quite sure of themselves and 
adopt a mask of world-weariness and 
sophistication. Greta Garbo likes to walk 
by the "misty sea" and vows she isn't tem- 
peramental. Jetta Goudal is such a con- 
summate actress that one can't tell when 
the actress ceases and Jetta begins. .Madge 
Bellamy engages her interviewers in long- 
winded and weighty discussions of high- 
brow literature. Irene F'iich has been ultra- 
sophisticated ever since "Lady Winder- 
mere's l-'an." Joan Crawford says that 
"most people lose their illusions when they 
come to Hollywood, but I haven't." 



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A Bill in a China Shop 

(Continued from page 23) 



ran all the wa}' to Santa Monica beach 
without even giving the cowboy a chance 
to tighten his strangle-hold on the nag's 
neck. WiUiam may be absolved of any 
ulterior motive in this mad dash, for the 
bathing beauties who have made California 
what it is to-day had not yet been glorified. 

Soup and Fish and Shoulders 

DuT Bill's wide smile, the laughter- 
^ flecked pupils of his eyes, the Dempsey- 
like shoulders and a pair of strong, straight 
legs helped him up the ladder. And, of 
course, there was the dress suit, too. It 
was the real thing, tailored "in the New 
York manner," and Bill worked in every 
society "drammer" of the early days on 
Gower Street. Then he chiseled his way 
into Selig Studios as the first assistant 
cameraman. The duties of this situation 
were vested chiefly in the toting of the 
camera. 

Believe it or not, Bill did such a good 
job of camera carrying, that he finally be- 
came a leading man opposite Loretta Blake 
in a David Wark Griffith photoplay. This 
was about the time that Norma Talmadge 
left Erasmas Hall High School and the 
\"itagraph Company to cross Brooklyn 
Bridge en route for Hollywood. And in 
her first film for the National Film Cor- 
poration, j-oung Seiter, dress suit and all, 
played the juvenile lead, and doubled as 
assistant director. 

■By now Bill had determined on the 
directing end of the business for his future 
activity. There was too darned much com- 
petition in the acting lines. He made a 
deal with Carter De Haven and actually 
megaphoned a series of comedies, and 
through these he won his directorial spurs 
on the Thomas H. Ince lot. 

As time went on, Seiter hooked-up with 
Reginald Denny. Together they turned 
out close to a dozen pictures that set the 
world a-chuckling. But despite the early 
and late exactions of the picture business. 
Bill found the Star of his destiny — found 
time to woo her — found time to win her — 
found time to change her name to Mrs. 
Seiter and his to Mr. Laura La Plante. 

Laugh if you like, but the man who 
marries a movie-star has a task ahead in 
the maintenance of his individuality. The 
right to ''call his name his own" is one 
held by might alone in the case of a film 
favorite's hubby. Thus it is something of 
a tribute to "Big Bill's" virility of person- 
ality that he can jokingly call himself "Mr. 
La Plante" without fear of being seriously 
tagged as the unnecessary half of the 
family. 

Seiter is the type of chap who would be 
annoyed on Piccadilly or the Bois by the 
gamins of those streets accosting him to 
buy a "New York Herald." In his man- 
ner and in his appearance there is that in- 
definable something which radiates Broad- 
way and the Avenue. 

All Shades of Stories 

LIis conversation is rather sparkling, and 
* * pepped up with a gentle sarcasm that 
carries a laugh, though denuded of barbs. 
He hasn't a great deal of what passes for 
"artistic temperament." At least, not ap- 
parently. He would be rather ashafned to 
become openly enthusiastic in the Gallic 
manner. Yet, if he can corner you, he'll 
respond readily enough to slight encour- 
agement and relate in frightful detail either 
the story of his "hole in one" or the yarn 
which he ne.xt plans for a picture. 



His wife understands him. She knows 
by his eyes just what degree of naughtiness 
the next anecdote will attain. And she 
guides his stories according to her guests. 
For Bill himself has little in sympathy 
with the Kansas-minded gentry, and what 
makes Manhattan smile may wreathe 
Dubuque in blushes. 

The Seiter apartment home, as might be 
expected, is thoroughly reminiscent of 
Gotham. There are hundreds like it along 
Park Avenue and on those exclusive sid^ 
streets which lie opulently in midtown. 
One imagines that Bill would dress for 
dinner unless he were specifically instructed 
not to. Not that he'd like it, but just as 
a matter of habit — or perhaps a reversion 
to the days when the evening regalia was 
donned for the day's work. 

Another impress left in the more youthful 
days is an appreciation of fine glass. Were 
Bill a bit less athletic, he might collect as 
a hobby. He may yet. And if he does 
he'll have connoisseurs waiting on his door- 
step. At least once in his career he shared 
with the late Mark Twain a horror, real 
or simulated, of being branded with the 
mark of comedy. Mark insisted that his 
profoundest utterances would be greeted 
with giggles. Bill couldn't get anyone to 
take him seriously. That is to permit him 
a serious photodrama. They seemed to 
think he'd use a slap-stick on the heroine 
in the big assault sequence, or have the 
boys in blue ride in the wrong direction 
when the rescue scene was filmed. But from 
the days of the Greek theater comedy sense 
has been accompanied by intuitive dramatic 
appreciation. So it remained for Colleen 
Moore, also shivering with apprehension 
for fear an ineradicable mark of comedy 
would be branded on her brow, to select 
Seiter, maker of funny pictures, to direct 
her in a dramatic story. And now the 
Seiter genius seems definitely committed to 
deeper waters. 

Actors Are People 

At work, "Big Bill" is the same seem- 
*^ ingly lethargic giant who lolls in an 
easy chair to feast affectionately on Laura's 
blonde and dimpled beauty. Not much ex- 
citement. Not much jumping around. Not 
much '.'hollering" or theatrics. He has it 
all thoroughly well in mind, and proceeds 
in a workmanlike manner to transfer his 
conception of the story to the celluloid in 
the camera. He acts as though the players 
were human beings. A well done bit re- 
ceives a word of smiling praise whether 
it be contributed by star or extra. 

Seiter believes that fresh contacts are 
essential to fresh ideas. He is frank in 
saying that he and Denny sort of petered 
out of inspiration after the first hundred 
years, or so, of association. Then there 
must be the gift of story telling. For the 
director is not too far removed from the 
ancient troubadour or minstrel who strolled 
the earth regaling those who would heed 
with glamorous tales of brave men and 
lovely ladies. Given these elements, "Big 
Bill" doesn't see any particular trick in 
picture building. 

Like all men who accomplish things, "Mr. 
La Plante" has his modicum of ambition 
stowed away in a cavernous chest. He 
has his own idea for a "big" picture, and 
one of these days he's going to make it. 
Until then, "Big Bill" will saunter along 
improving his golf game, loving his wife, 
doing that directorial job which comes next 
to hand, and smilingly kidding the pleasant 
world in which he dwells. But never for 
an instant kidding himself. 



80 



lytLj X x.w^-yj 



OLDW YN-MAYER brings great news to you for the coming-year. 



GRETA GARBO will appear in a great ro- 
of Life", and JOHN GILBERT will be in 




• JOHN GILBERT and 
mance, "The Carnival 
two other pictures and GRETA 
GARBO in three. "Show People" 
brings MARION DAVIES ^|^ 
^^1 and happy WILLIAM^^^ 
HAINES together in a mar- 
velous special production. MAR- 
ION DAVIES has three additional 
pictures and WILLIAM HAINES has 
four, "The Loves of Casanova" is 
a surprise special from M-G-M. 
LON CHANEY will be in 
W "While the City 
Sleeps" and three other 




films; RAMON NOVARRO 

in "Gold Braid" and one more; 
0^% NORMA SHEARER in 



"GOOD NIGHT RADIO-WE 
NEVER MISS AN M-G-M PICTURE" 




And now see the wonderful array of 
photoplays which Metro-Goldwyn- 
Mayer will bring you during 1928'29. 

AT YOUR THEATER 
NEXT SEASON! 

(Be sure to ask your Theater }\ianager to make arrangements notv) 



Winners of the Ralph Forbes Memory Contest for May: Mrs. Bemieco Jackson, 

214 West Elm St.. Ludlow, Ky.. and Mr. Milburn Carl Smith. 520 South Rose 

Ave., Kalamaroo, Mich. Autographed photographs have been sent to the next 

hftv prirc winners- 



((1 



'Ballyhoo" and three other productions, and LILLIAN GISH 
n xhe Wind", '^tt^ BUSTER KEATON appears in "The Cainera 
Man" and in Ij^T another comedy. ^^ ^"^^ DANE and ARTHUR'S 




plans include "Camping Out" and three ^ J , additional fun films. 

^^ CODY and PRINGLE offer the Broadway hit, "The Baby Cyclone" and 
-^T two more pictures. TIM ^ ^ McCOY has six adventure pictures. 
That amazing dog, FLASH, has two thrillers. There will also be three 

COSMOPOLITAN PRODUCTIONS and three ELECTRIC LIGHT HITS with big, 
absorbing themes. Rounding out M-G-M*s new offerings are its famous HAL 
ROACH comedies: those rascals, OUR GANG ; /^!^^--^^jK^ the laugh artists 
STAN LAUREL and OLIVER HARDY;^i,^^ ^ V P and rib-tickling 





CHARLEY CHASE and com-^^^^ ic«u iVlAX DAVIDSON 

with HAL ROACHES ALL-STARS. The M-G-M NEWS will again bring ^"^ ' 



'^ 




you the world's happenings and, with M-G-M's GREAT EVENTS Series in TECHNICOLOR 
and M-G-M's famed ODDITIES, there's the best entertainment in the world in store for you. 



M 



R-O 



GOI_D>WN 



M/VYt R. 



«l 



They're 
Alive 



Regardless of precedents and 
press-agents, motion picture 
celebrities are alive. 

They're not stuffed dummies or 
just names spelled out in elec- 
tric lights. 

They're human. They get tired 
and they get cross and they get 
hungry and they get fed and 
they get more cheery. 

They're unusual people, it's 
true. But you can't really ap- 
preciate their unusualness with- 
out being aware as well of their 
usualness. One thing is as im- 
portant as the other. You can't 
know what the stars are like 
unless you know both how 
they're like the people next 
door and how they're unlike 
them. 

MOTION PICTURE CLASSIC 
knows that- — and prepares its 
news of the studios and its in- 
terpretation of the personalities 
that people them, from a sane 
and truthful standpoint. It 
neither deifies nor defiles them. 
It simply understands them and 
likes them — and tells about 
them as they are. 

This means that as you read 
about the stars in CLASSIC, 
you read about real people. 
And in reading, you accomplish 
what you buy a movie maga- 
zine for — you become ac- 
quainted with them, really. 
You add them to your list of 
friends. 

Which is why, when you begin 
making up your list of mas^a- 
ziiies, you begin with MOTION 
PICTURE CLASSIC. 



It's the Magazine 

with the 

PersonaUty 

The next — the September issue will 
be on the newsstands August 12 th 




When Director Murnau isn't busy directing Janet Gaynor, he is busy sharing 
rookies made by Janet's mother 



They Also Starve 

(Continued frniii page 26) 



upstart star who litters her richly uphol- 
stered chariot with peanut-shells and 
crumbs from onion sandwiches. 

They tell the tale of the girl who be- 
sieged a casting-office and wouldn't take 
no for an answer. Finally the director 
told some one to "put her down for the 
sister part," and she was instructed re- 
garding wardrobe. What money she had 
was spent in making purchases. When she 
reported for work, it turned out that there 
was no "sister part" in the picture. They 
had to get rid of her some way. They 
did. She went to the beach that night. 
.'\nd somehow forgot to stop walking. So 
the gentle waters of the Pacific cradled 
her last sleep. 

There's at least one shabby-carpeted 
hotel in Hollywood that merits the title 
"Suicide Hall." Those who dwell there 
with the degree of permanency that indi- 
cates the possession of rent receipts, 
seldom inquire for those who are missing 
the day after the fatal board bills are pre- 
sented. Some just move along when they 
find their keyholes plugged. Some are 
carried out in those cute little straw 
baskets affected by the best morticians. 

But, if we're speaking of shorn sheep, 
let's to our muttons. The tragedies of 
those who seek work in vain are scarcely 
more poignant tlian those of the more for- 
tunate ones selected to play parts. The 
other day a couple of dozen were carried 
unconscious from the blazing sun, where 
a mob of extras enacted a pagan holiday. 
"Make an adjustment," ordered the direc- 
tor, and each received two-fifty more at 
the pay window in return for incipient 
sunstroke. 

Extra work on a set in which there is 
plenty of action is far preferable to the 
indescribable tedium of sitting, sitting, 
sitting, day after day, merely to form 
background for the acting of the stars. 
A recent drama takes place almost entirely 
in a court-room. Naturally, all interest 
centers on the accused, the witnesses, the 
important people in the dramatis personae. 



Nevertheless, the room must be peopled. 
So for two weeks several hundred extras 
simply sat. The only time they arose was 
to take the few steps necessary to film an 
indication of court recess or adjournment. 
Some gossiped with their neighbors. 
Many knit or embroidered. A very few 
read. The great majority simply sat with 
blank expressions waiting for quitting 
time. There is no dignity to their labor. 
No purpose is accomplished. They haven't 
the consciousness of a task well done. 
And the hope of reward is as far distant 
and as intangible as the hope of heaven. 
Of the fifteen thousand extras, it is an 
odds-on bet, that not fifteen ever receive 
a large enough bit to get screen credit in a 
picture. 

Vet these thousands of creatures who 
must be classified as human beings, 
come day after day to the torture of idle- 
ness which would surely mark an active 
brain for insanity, or addle an imagina- 
tive soul to the point where the sting of 
Death would be a kiss. It is perhaps 
possible to account for the young ones. 
Particularly the girls. Perhaps they have 
the right to hope that their fresh beauty 
may sky-rocket them to the affluence of 
stardom. The tough part is that this very 
thing happens just often enough to make 
it not impossible. It seems almost like a 
come-on. For after your dollars are squan- 
dered on some catch-penny gamble, isn't it 
always so that some one draws the "lucky 
number" and wins the talking doll? And 
you throw another dollar after the good 
one which is gone. But the boys. It's 
hard to figure the angle that will keep 
young strapping fellows confined to such 
puerility. Most of them seem un-Ameri- 
can. But perhaps under the John Gilbert — 
Gilbert Roland side-burns, the patent- 
leather hair, and the other sheik equipment, 
there are honest boys named Jones and 
Brown and Smith. However, they impress 
as a shifty-eyed lot quite capab'^ o'' lipl"- 
ing along a crime wave. 



82 



How to Tell Clara from Sue 

(^Continued from page 7i) 

the sheltered life of the only daughter of 
a millionaire. 

To Clara Bow, her chance to work in 
the pictures, won as the result of a beauty 
contest, meant miraculous release from 
drabness and debt, and the possibility of 
everything of which she had hopelessly 
dreamed. To Sue Carol, wintering with 
society friends in California, the sugges- 
tion of a movie director that she take a 
screen test meant only a new and amusing 
experience, another thrill. In her first 
picture Clara burst into a storm of ago- 
nized tears because the director criticized 
her in a scene. In Sue's first picture she 
reduced the entire company to a condition 
of speechless awe when she replied to the 
director's announcement that they would 
have to work all night, "Oh, I'm so sorry. 
But I can't possibly come this evening. I 
have an engagement." 

Yet, with all the diflference in their 
backgrounds, and motives for working, 
their attitude toward their careers is alike. 
Clara's passionate determination to keep 
the amazing success which she has won in 
five years on the screen is matched by 
Sue's determination to make good and 
build up the name she has made in her one 
year in the films. "It is my life." says 
Clara. "It's the first time," confesses Sue, 
"that I ever was contented to stay in one 
place and do one thing longer than three 
months at a stretch." 

Clara is probably the most popular star 
on the screen. She gets more than a thou- 
sand fan letters a day. She is just as 
popular in her own home town of Holly- 
wood. At openings and other gatherings 
the performance has to be held up while 
Clara greets her friends. The secret of 
her popularity on the screen and off is the 
fact that she is the very essence of femi- 
nine lure. She is magnetic, jazzing for 
sheer vitality, with moods as changing as 
the wind, one moment teasing, arch, the 
next wistful, and again provocative and 
passionate. 

Bows Aplenty 

Maturally, Clara has her imitators. One 
little aspirant to Bow fame dyed her 
hair the same fiery shade, and spent hours 
when she was not playing a bit for Para- 
mount standing on Clara's set , watching 
every gesture and expression. Every 
"cutie" who is signed up bv a studio is 
hailed as "another Bow." But Sue Carol 
is the only newcomer who has shown signs 
of duplicating Clara's fame. 

Sue, after only a year on the screen, 
gets a fourth as many fan letters as Clara. 
In Chicago her pictures are heralded as 
"Our Own Star," and all the society people 
in the city join the crowds who fill the 
theaters. Her wonderful strides in popu- 
larity in a single year arc due, like Clara's, 
to her personality, but it is a very different 
personality from the Bow's. Sue is quieter, 
more demure, the modern girl expensively 
finished, traveled, sophisticated, chaperoned. 

And speaking of chaperons, both Clara 
and Sue have them in private life. The 
girls live in charming little California 
houses — Clara's is Spanish, and expresses 
the Bow temperament in gay jazz awn- 
ings, while Sue's is an English cottage. 

After all, what does it matter which one 
adores and imitates — Clara of the flaming 
hair and round cheeked, saucy beauty ; or 
Sue, whose dark boyish bob frames her 
pretty oval face? Sue and Clara — two 
little moderns to the tips of their polished 
Chinese finger nails, girls to dream about, 
girls to worship. What does it matter, 
("lara or Sue? 




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^ow in Song! 



A wonderful new song 
about Pat Sullivan's fa- 
mous "Felix the Cat." 
Dance orchestras are play- 
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radio, in vaudeville acts 
and singers everyw^here! 
"Felix the Cat." Send 
thirty-five cents for your 
copy now. Send one dol- 
lar for three latest hits: 
"Felix the Cat," "Wings" 
and "Little Irish Rose." 
Every motion picture fan 
will like these delightful 
sheets of music. Each of 
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Motion Picture Magazine 
1501 Broadway, New York 

For the enclosed $1.00 please 
send me these three song hits: 
"Felix the Cat," "Wings," and 
"Little Irish Rose." 



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The pride of Jean Hersbolt's son in his distinguished father is superlative; 
it is equaled only by Jean's pride in his son 



Don't Be Yourself 

(Continued from page 55) 



seriousness and geniality. He bubbles over 
with laughter and fun, and when he enters 
a room, his laughter is soon filling it. A 
big man, a trifle fat, but a good fellow. 
However, look into his eye and you will 
see there a seriousness that belies the con- 
tinuous laughter. He takes pictures seri- 
ously, but refuses to take himself seri- 
ously. He believes that pictures are greater 
than the individuals in them. 

"So many of us," said Hersholt, "take 
ourselves so seriously that we are laugh- 
able. Why should we? There have al- 
ways been good actors ; there always will 
be. Why should any of us think that we 
stand out so prominently ? Some people 
in this business take themselves so seri- 
ously that they positively ruin themselves. 
As soon as you get thinking that you are 
better and bigger than the business, you 
had better start packing the trunk, for tlie 
door will open for j-ou shortl)' and you will 
have a ticket marked 'out.' 

"That is why I like playing character 
roles. You lose your own self and you 
have no chance to get swelled up. Many a 
fine actor has gone by the boards because 
he refused to put his own self in the back- 
ground. That is one of the tragedies of 
the screen. And that is where the man 
who plays character roles has all the ad- 
vantage. The present-day methods of 
pushing a particular star is ruining the 
stars by the score. A man with a particu- 
lar type of personality comes along and 
scores a hit. At once he is starred and 
the producers play him in identical roles 
until the public has tired of him. Then 
what happens? He is dropped, and in a 
few years people wonder where he is. He 
is probably selling automobiles or real 
estate. All because either he or the pro- 
ducers would not make a change in his 
type. 

"Type acting is one of the curses of 
the industry. Outside of Chaplin and 
Lloyd and perhaps a few others, we grow 
tired of the same faces and the same man- 
nerisms of the stars. We want versatility. 
H you haven't got it, you won't last long. 
You will be a success for a time, and then 
you cither start to grow old and can't do 
the parts, or the public tires of you and 



you find yourself drifting along and half 
starving. None of that for me. I do not 
care if anyone ever sees my own face or 
not. I'll cover it with whiskers any day 
in the week and go in there and play any 
role rather than be a type and have my 
vanity tickled by showing my own face all 
the time. There is nothing particularly 
outstanding about my face, but my char- 
acters do stand out — and that is what 
counts. 

"I was a bit frightened right after I 
broke into pictures, for I was cast as 
Christ in seven pictures. Seven more of 
them and that would have been the only 
role any producer would e%'er have been 
able to see me in. But I stood on my own 
feet and demanded other roles. I did not 
want straight roles. Just character parts, 
but I wanted them changed. At last I in- 
sisted that I never play two similar roles 
in successive pictures. If I played an Ital- 
ian in one picture today, I refused to play 
an Italian next week in another picture. 
Submerge yourself in every picture and 
you can go rolling along indefinitely — of 
course, if you have the ability to act. 

"I try whenever possible to play in a 
comedy. Then follow this with a villain- 
ous role, then maybe a little tragedy, then 
maybe the role of a goo I old drunk as in 
'The Old Soak,' and in this way you are 
always giving your public something dif- 
ferent. What of it if thej' don't recognize 
you behind the make-up? It is the picture 
we must think about. None of us has a 
personality strong enough to keep the pub- 
lic wanting us as ourselves forever." 

That is Jean Hersholt — modest — think- 
ing of his art. But his work stands out. He 
will long be remembered for his work in 
"Greed." In "Don Q" critics are still ar- 
guing over whether he or Fairbanks, the 
star, carried the picture. As the meat 
packer in "So Big," he walked away with 
lionors whenever he appeared. 

"It makes it nice, too," he said, "for I 
can walk along the street without being 
recognized and pointed out by curious peo- 
ple who think that just because we are on 
the screen we should be pointed at like 
prize cattle. After all, we are oidy human 
like the rest of tlie world." 






84 



Don't Call Him Buddy 

{Continued from page 51) 

twenty-three years old — a man, with a 
man's responsibilities. Nobody but his 
mother could ever call him Buddy again — 
and get away with it. 

"It isn't dignified," said Mr. Rogers, the 
other day. "Most of the letters I get are 
addressed to Buddy, but I guess they'll get 
used to the Charles. I hope they'll like me 
just as well. 

"Gosh, I've been lucky, haven't I !" he 
beamed. "Things have always seemed to 
come my way. When I was in college, I 
earned from forty to fifty dollars a week 
playing in the orchestra. I went to Europe 
with it, too. And now I've been lucky in 
|)ictures. I hope it will last. 

"It's pretty fine to be a star. Of course, 
Richard Dix told me he'd rather play in a 
l)ig picture, like 'Wings' for instance, than 
he a star, any day. But I don't know. I've 
never been a star, and it's a big thing. 

"It seems funny to be recognized and 
asked for my autograph. I can't get over 
it. When I was in New York, people 
stared at me on the street sometimes. At 
first I thought it must he my Hollywood 
clothes. And then they'd ask me for my 
signature, and I'd get a big kick out of it. 
There was the luncheon Miss Nichols gave 
in honor of 'Abie's Irish Rose' — and the 
opening on Broadway. Say — it's the sec- 
ond time I've had two pictures running 
on Broadway at once. 'My Rest Girl' and 
'Wings' — and now 'Wings' and 'Abie.' 
More luck !" 

It's All Christmas Eve to Him 

"My mother came on to New York for 
the opening — and my sister, too. When we 
stopped off at Olathe, there were four or 
five hundred folks down at the station. 
Gosh — it's all been great!" 

There's something nice about an enthusi- 
asm like that. Maybe when he's an old 
man — say twenty-six, or seven — he may 
take such things as picture premieres and 
publicity luncheons as a matter of course. 
But now — it's still Christmas Kve and there 
are more presents under the tree that he 
liasn't unwrapped yet. 

"My kid l)rother," he said paternally, 
"he's seventeen. He wants to come out to 
Hollywood. He's crazy to try pictures. 
But I tell him to wait two years. I want 
him to have at least two years in college — 
I had three; sometimes I wish I had fin- 
ished and then I think, well, things turned 
out all right. So he is going to stick it 
out and do everything just like I did — go 
to Europe in the summer, and all. Then 
if he still wants to, I'll lielp him. Pictures 
are great. I'd do just the same if I had 
to do it over again" 

The kid from Kansas is going to be a 
college boy again — in his first starring pic- 
ture, tentatively titled "Yale." If you still 
cherish your illusions about cinema college 
boys, you are in for an awful blow. Once 
you could count on your college boy to do 
the right thing. He'd be a regular cut-up 
on the campus, go to a road-house with a 
party of chorus-cuties on the eve of the 
Big Game, put on paper hats and have a 
high old time. But young Mr. Rogers will 
change all that. He is going to play his 
kind of college boy. He will take the stew 
out of student, showing him in his true 
colors as sober, self-respecting and occa- 
sionally studious. Don't laugh. He'll 
make you like it. 





Marvelous New Discovery 
Makes Hair Beautifully Wavy 



The Spanish Beggar's 
Priceless Gift 

A story by Winifred Ralston 

FRO.M tlie day \vc started to srliool Charity Win- 
throp and I wore called the tousled-hair twins. 
Our hair simply wouldn't behave. 

.\s we (jrew older the hated name .still clung to us. 
Then Charity's family moved to Spain and I didn't 
sec her again until last New Year's eve. 

A party of us had gone to the Drake Hotel for din- 
ner that night. I was ashamed of my hair. 

Horribly self-conscious, I was sitting at the table, 
scarcely touching my food, wishing I were home. It 
seemed that everyone had wonderful, lustrous, curly 
hair but me. and I felt that they were all laughing — or 
worse, pitying me behind my back. 

My eyes strayed to the dance floor and there I saw 
a beautiful girl dancing with Tom Harvey. Her eye 
caught mine and to my surprise she smiled. 

About this girl's face was a halo of golden curls. I 
think she had the most beautiful hair I ever saw. My 
face must have turned scarlet as I compared it men- 
tally with my own straggly, ugly mop. 

Of course you have guessed her identity — Charity 
VVinthrop. who once had dull straight hair like mine. 

It had been five long years since 1 had seen her. 
Hut I simply couldn't wait. I blurted out — "Charitv 
Winthrop — what miracle has happened to your hair?" 

She smiled and said mysteriously. "Come to my 
roomjand 1 will tell you the whole story." 

Charity tells of the beggar's gift 

"Our house in Madrid faced a little, old plaza where 
I often strolled after my siesta. 

" Miguel, the beggar, always occupied the end bench 
of tlie south end of the plaza. I always dropped a few 
centavos in his hat wlien 1 pas,sed. 

"Tlic day before I left Madrid I stopped to bid him 
goodby and pressed a gold coin in his palm. 

"'Hija mia.' he .said. 'You have been very kind to 
an old man. Uigemelo (tell me) senorila. what it is 
your heart most desires.' 

" I laughed at the idea, then said jokingly. ' Miguel, 
my hair is straight and dull. 1 would have it lustrous 
and curly.' 

"'Oigame. Senorila,' he said — 'Many years ago a 
Castillian prince vras wedded to a Moorish beaut\'. 
Her hair was black and straight as an arrow. Like 
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The next morning when I awoke I hardly dared look 
in my mirror, fearing it had all been a dream. But it 
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CLASSIC 



is the de luxe publi- 
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It prides itself on its 
bright and attractive 
features — features 
which are off the 
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The SMagazine with the 
Personality 



As Nice as She Looks 

(Continued from page 58) 



celluloid. With the dawn she applied for 
and got extra work at Fox studio. Two 
days later the director picked her for a 
bit, and shortly afterward the eagle-eyed 
Mr. Al Christie got a look at her and 
signed her for some comedies. Back again 
at Fox several months later, she won her 
first leading role in "Wolf Fangs" and 
proceeded to parts opposite Tom Mix and 
Rex Bell, and in "A Girl in Every Port." 
The first appearance on the screen of 
her legs was in "Seventh Heaven," when 
she stood on a street grating and was ob- 
served from beneath by Charlie Farrell. 
The other pair of legs in the scene be- 
longed to Sally Filers. Caryl's legs got a 
pretty good break, too, in many Christie 
and Fox comedies. Nice to have about 
the house. 

A Pulchritudinous Pan 

(^aryl's pleasant map, flashed on the 
screen in all parts of the world and 
elsewhere in the handful of pictures she 
has played in, produced letters bursting 
with admiration, esteem and regard from 
country bumpkins, poets, idealistic college 
boys and jail-birds. Number 4815, writing 
from Utah State Prison, remarked that 
she was a great help and encouragement 
to "those in here, who, although now pay- 
ing the penalty for their sins, are working 
and planning for the future when they will 
be released to begin life anew." A group 
of collegiates in Philadelphia stated collec- 
tively and individually that, gee, she sure 
was the berries. From the Mississippi, 
where legend tells us that darkies all go 
dippy, one who described himself as a 
Southern Gentleman delivered himself of 
the opinion that the most inspiring thing 
about Caryl was her eyes, but that her 
mouth also gave him to ponder on the 
liberality of the Creator, and her hair also 
called for applause. In a broad, pains- 
taking hand, on a page torn from a diary 
which smelt slightly of hay. there came 
all the way from Nebraska, line upon line 
in prayer form as if Caryl were some 
pagan goddess of the yokels. Caryl, you 
may be sure, takes them with all the seri- 
ousness their writers would ask of her. 



Recently she went on a location trip to ( 
Prescott, Arizona, to make scenes for *' 
"Hello, Cheyenne," in which she played 
opposite Tom Mix. Two days after she 
arrived, the boys of merry Prescott had 
discovered the number of her room in the 
hotel, and every evening they would troop j| 
up in a steady stream, standing dazedly in 
the corridor gazing in at Caryl in a sort 
of stupefied wonder. There is no need to 
start imagining her embarrassment. The 
way they stood and stared at her was just 
touching to Caryl. She stared back. 
When she left Prescott she took with her j! 
a face that had launched a thousand young 
Prescott dreams. All the boys in town 
started writing highly poetic letters to her. 
Probably for the first and last time in the 
history of the Arizona burg its inhabi- 
tants began versifying, and the one ques- 
tion of the moment was what rhymes best 
with Caryl. 

The extent to which Caryl underminei 
youthful Prescott morale may be gath 
ered from the last letter she received frorn; 
there. 

"I am not an old man," it ran, "nor a 
middle-aged man, but merely a twelve-year-^ 
old high school student and I only saw yo 
when you were taking pictures here, 
saw a picture of you that the newsl 
Barney Davis had, and would give j 
anything to get one. I suppose you thin 
I am foolish and all of that, but I sw 
that I would cherish one as much 
Barney, and he most certainly does cherish 
it. Won't you please write With love 
Henry from Caryl on it? From just on 
of your admirers." 

Problem in etiquette, number MNX. 
What should A do? Caryl must either 
risk a marital rupture by sending Henry 
a compromising photograph, or else pro- 
duce a situation away in Prescott between 
Henry and Barney Davis (the newsboy 
who cherishes his picture) which nothing 
but pistols for two and coffee for one 
will set ri^t. Barney will undoubtedly 1 
guard his photo of Caryl with his life. 3 
Henry cannot live without a photo. 

The answer will probably be contained 
in the obituary columns of the Prescott 
newspapers. 



The $97 Masterpiece 

(Continued from page 40) 



«l^ 



Unfortunately, the limited space of the 
"producer's" apartment, in which the en- 
tire picture was filmed, allowed of no 
camera range, so only Mr. Raucourt's head 
photographs. A detached head can't do 
much acting, especially when the brow is 
plastered across with Arabic numerals. 
Then, too, Mr. Raucourt fools you with 
those masks, which seems hardly fair, even 
for art's sake. 

Now you may well wonder why Mr. 
Florey and his "Rhapsody" are being taken 
seriously by the United Artists people. I 
didn't consult them about it. but I really 
believe that Chaplin and Schenck have 
been won to this young man because he is 
so serious about this work, so confident 
that he is going to make a success. 

They are taking into consideration the 
fact that "The Blues" was filmed entirely 
in the living-room of Florey's apartment. 
All the equipment he had was a little "home 
camera" and a good sized electric light 
bulb. His "sets" were made of cigar boxes 
and tin cans. One of these cigar box sets 



looks so exactly like skyscrapers illumi- 
nated at night, I confess it had me fooled. 
And the tin cans gleam with a misty glow 
that lends a touch of phantasy to the 
heaven scenes, in spite of the cardboard 
angel. 

As to the cubist railroad tracks and 
wheels, they were made of tin foil saved 
from cigarette packages, and the heaven- 
bound hand-car was cut from cardboard. 

By using such scraps, odds and ends, 
in the manner he did, the ambitious young 
producer proves that he has an inventive 
and original mind. 

Florey came to Hollywood several years 
ago from Paris, where he had directed 
comedies starring the late Max Linder. His 
arrival was unheralded, for at that time 
enthusiasm over foreign artists had not yet 
been aroused. He had his ups and downs, 
but has always been busy doing something ; 
writing for foreign film publications, act- 
ing as intepreter, technical director, assist- 
ant director and what not. 

At present he is assistant for Henry King. 



86 



Looking Them Over Out 
Hollywood Way 

(Continued from page 61) 

nothing, you're mistaken," said Norma and 
loaded up her fawn-colored Rolls-Royce 
with new potatoes. 

Eric von Stroheim went to New York, 
and in addition to shocking the lady report- 
ers to death with his comments on sex and 
other topics of general interest, dickered 
with Dennis King for the leading role in 
Gloria Swanson's next picture. Von is 
going to direct Gloria in a picture called 
"Swamp," his own idea. If he isn't care- 
ful, he'll be down in the gutter yet. I 
mean, making movies. 

Getting back to Dennis King, he is the 
young singer who has been giving the New 
York flappers the same kind of thrill Jack 
Gilbert does for the movie breed. Dennis 
is the star in Ziegfeld's "Three Mus- 
keteers." 

Standing Up a Star 

V/ouNG Hollywood men become so blase. 
* For instance : 

A handsome scenario writer who was 
visiting in New York was invited to meet 
Marilyn Miller. As Marilyn is the darling 
of Broadway, this was no slight honor. 
The scenarist said he would be delighted 
to meet Miss Miller, and an appointment 
was made. 

The day of the meeting arrived. So did 
the hour. But no scenarist. The Miller 
party waited quite some time, and then one 
of the men went out and called the hotel 
of the tardy guest. "Where the devil have 
you been?" demanded the irate young man. 
"We've been waiting here hours to take 
you over to the theater to meet Marilyn." 

"Oh, yes," replied the young Hollywood, 
"Terribly sorry, old boy, I've been shop- 
ping and completely forgot it. Couldn't I 
met her some other time?" 

All that was heard from the other end 
was the sound of a falling body. 

As I said before, one gets too blase in 
Hollywood with Alice White and Joan 
Crawford and Clara Bow around all the 
time. 

Tempering Temperament 

A KTER being featured in several f uU- 
length pictures, Arthur Lake is being 
cast again in the two-reelers by Universal. 
A lot of people seem to think that this is a 
form of punishment to Arthur for having 
been temperamental about a few things on 
the lot. Arthur doesn't strike me as an 
unreasonably temperamental kid. but then 
you never know. 

Wonder what would happen if the 
movies started- dealing with their tempera- 
mental people in the same way the Actor's 
Equity handles the stage stars? They re- 
cently banned Jeanne Eagels from working 
for a whole year. What do you suppose 
they would do with Greta Garbo? 

The Graceless Gesture 

A FTER rating a lot of publicity by an- 
nouncing her engagement to Dick 
Grace, young stunt flyer, .Mice White now 
comes out with the suggestion that perhaps 
she will not marry after all. As Alice 
says, "A girl with a career to bother with 
should think twice about marriage." 

That may be all right for Alice, but it 
makes it tough on her publicity-fiance. 1 
understand he was really in love with the 
gal. 




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Start with .Xugiist, 1928, issue. 



87 



What's become 

of all 

the homely 

women? 

Women simply aren't homely 
any more. You meet plain 
women, yes . . . but their 
smart, trim air is the en\'y of 
many who are only beautiful. 

In the old days, when a girl 
gave promise of becoming 
"hopelessly plain," she was 
frankly informed of the fact 
to save her from hurt pride in 
later years. She remained 
frumpy and tried to convince 
herself that she didn't care! 

Not today! 

Advertising has played a re- 
markable part in making every 
woman attractive. 

It has taught her to use the 
beauty and charm that are her 
heritage, regardless of the 
shape of her features. Her 
teeth, her hair, her hands, her 
complexion, her clothes, and 
even her erect, athletic figure 
have been "brought out" by 
methods constantly before her 
in advertising. 

The great beauty and style 
speciahsts of the country have 
been her consultants, as they 
are yours, if you are taking 
fullest advantage of the op- 
portunities before you, in the 
advertising pages of this mag- 
azine. 

Read the advertisements. They 

hold secrets of beauty and 

style that were denied the 

women of yesterday 



Do Women Rule the Movies? 



(Continued from page 31) 



wood. Just how much influence is wield- 
ed by the wives of handsome heroes is 
hard to estimate, except by some husbands 
who know what some wives can do ! But 
Natacha Rambova was undoubtedly the 
power behind the throne of Valentino for 
several years. 

The Girl Behind Gilbert 

|\4enjou was another screen star whose 
career was managed for years by his 
wife. And they say that Jack Gilbert, 
easy-going and humble about his own pos- 
sibilities, might still be playing unimpor- 
tant roles in obscure pictures except for 
Leatrice Joy's fierce ambition for him. 

Spanish women live in a world run for 
men. When the Del Rios ca«ne to Holly- 
wood from Mexico City, Dolores was the 
clinging, adoring wife who obeyed every 
wish of her Jaime. They were happy- — 
until the petticoat policies of a city that 
worships woman and woman's beauty de- 
throned Jaime from his post as Master in 
the House. 

The feminine stars of the screen have 
exerted a far greater influence upon the 
movies than their masculine peers, as any 
harassed director will testify. Mae Mur- 
ray, it is whispered, even resorted to 
stronger measures than tears when a 
wretched male displeased her ! Greta 
Garbo royally refused to be coerced by- 
studio executives and kept a great pic- 
ture company on tenter-hooks. 

Producers might hire bespectacled law- 
yers to put threatening clauses into her 
contracts, but the lovely and helpless 
Corinne Griffith ignored them. Pola 



Negri, Gloria Swanson, Jetta Goud 
Maria Corda — these gorgeous ladies alon 
can tell just how far they have ruled the 
movies by a tyranny of tears. 

Perhaps the most powerful of all tB 
feminine stars of Hollywood is Mariq^ 
Davies, but Marion reigns not by temper 
ment but by her position as unofficii 
Hostess of Hollywood. Other womeal 
whose social prestige makes them powei^j 
in moviedom are Florence Vidor, AileeijJ 
Pringle, the delight of novelists ; and Mary'j 
Pickfcrd. 

June Mathis and Valentino 

'X'hen there was June Mathis, who be- ■ 

stowed the boon of her great influence | 
right royally. On the wall of her office I 
hung a framed photograph signed inj 
dashing hand, "To June, the only one toj 
whom I OW'C my success. Rudolph \ 
\'alentino." 

Perhaps the most spectacular w-iclder of 
influence in Hollywood was Madame Eli- 
nor Glyn, who for a time had only to look 
at a blushing young man between nar- 
rowed eyelids and murmur, "You have it" 
to make him at least a leading man. 

For years Jeanie MacPherson has stood 
at the elbow of Cecil B. De Alille, self- 
efifacing, quiet, prim. Amid the chorus 
of yes-men, flatterers and disciples she 
alone has dared to disagree. "Don't you 

think. Chief " she murmurs, and C. B. 

listens, and more often than not takes her 
advice. 

Behind most of the great men of the 
mov.ics stands some woman, inspiring his 
effort. 



The Celluloid Critic 

{Continued from pagt^SS) 



is worked over with painstaking effort, one 
which is neatly photographed and acted 
Vv'ith a fine grasp upon the emotions. 



Sizzling Romance 



T, 



HE ancient barrier of East and West 
bobs up to provide a red-hot theme of 
desert love in "Fazil," and while it tells 
nothing new, it manages to sizzle with the 
element known as passion. It will surprise 
all of Charles Farrell's public to discover 
him giving up temporarily at least the 
simple boy-and-girl romance such as "Sev- 
enth Heaven" and emulating Valentmo 
and Gilbert. He sure is there with the 
erotic impulses. And his lady friend, 
Greta Nissen, goads him on with the qual- 
ity known as S. A. 

"Fazil" is a torrid yarn, so torrid in 
fact that the celluloid fairly crackles with 
the heat. One sees a Parisienne married 
to an Arab chief. And when the mo- 
notony of the atmosphere begins to pall 
upon her, she leaves him. Jealousy in- 
spires her to return. And her rescuers 
wound him fatally. Before he expires he 
sees to it that she accompanies him by 
giving her poison. 

The tragic ending tones it up and saves 
it from becoming one of those ya-ga ro- 
mances. Yet even with a sugar-coated 
finish, the feverish love scenes preceding 
it would have made it compelling. Charles 
Farrell plays the sheik with good vehe- 
mence of expression and succeeds in ring- 
ing up a more realistic portrayal than 
some of the boys who have dashed over 



the white hot sands. Greta Nissen is al- 
luring — and then some. 

Russia Via Hollywood 

^0 complaint should be registered over 
"Tempest," which speaks out romanti- 
cally about army life in Russia. Though 
made in Hollywood, it suggests a faithful 
picture of what transpires in any army 
anywhere when an officer is stripped of 
his rank. For his effrontery in "crashing" 
aristocratic circles this peasant is made to 
feel the utmost humiliation. 

The picture introduces Camilla Horn in 
her first. American-made role, and she in- 
dicates that she'll give the Garbo and like- 
wise the Banky quite a run for their 
money. It is her job to express anger, 
scorn, coquetry and a few other emotions 
when she becomes interested in the peasant 
who has been elevated in rank. 

The picture takes the spectators through 
the overthrow of the monarchy by the 
Reds and effectively points the conflict of 
class hatred. And it moves with dramatic 
sweep, touching a deal of interesting inci- 
dent ill its journey across the screen. 

Barrymore has had stronger roles, those 
which gave him greater scope of emotion, 
but he will not lose any of his following 
here. His romantic moods are in order — 
and when he has moments of despair, 
these are attended to witli good under- 
standing. Camilla Horn has a definite 
screen personality and plays her part with 
e.xcellent shading. George Fawcett, than 
Zifhom there is no whomer among charac- 
ter actors, does his work well, as usual. 



88 



The Divine Lady Herself 

(Continued from page 37) 

were comfortable and secure and had 
pretty nearly everything. Good times. 
Then the father died. He left them penni- 
less as do so many men whose hearts are 
iiigger than their insurance policies. 

What happened? Well, people who had 
eaten from their larder cut them. 

By Way of a Contest 

/^ORIXNK, on the sill of leaving childhood, 
watched this sorry play of human 
', events and in her tender, shocked young 
I mind there formed the bitter conviction 
that friends are of one species only— fair- 
weather. That power and position are om- 
nipotent assets. That you spend and the 
world spends with you. Be poor and you 
are poor by yourself. 

Corinne's mother broke up what re- 
mained of the desolated home and came to 
Hollywood on a slight business enterprise. 
The girls stopped school and got jobs here 
and there. One night there was a dance 
and a beauty contest was staged. Corinne 
won the honors. A well-known director 
was there and they talked together. He 
invited her to drop around She did, and 
the rest is history. 

In Corinne's beautiful Beverly Hills 
home we sat at luncheon and reviewed the 
past. Cast a speculative eye into the 
future. 

We spoke of "The Divine Lady," which 
on the First National lot, she was to 
begin the following week. She said that 
she had not been so interested in any pic- 
ture for many moons. She was amused 
because it had been argued that a great 
deal of footage would have, perforce, to 
be given the character of A^clson. Which 
will mean fewer close-ups for Lady Ham- 
ilton. "As if that matters," said Corinne. 
"I want a story." 

I murmured, irrelevantly perhaps, "Most 
of 'em crai'e close-ups." 

"So many of us on the screen 'crave' the 
wrong things. Get the wrong things." 

"Such as ?" 

"Parasites. Egotism. Notoriety. The 
three great evils. I know I haven't the 
first of them. I never have had. I trust 
I haven't the second and hope I shall never 
have the third. Publicity of the right sort 
is indispensable. It is the air in our lungs. 
But between publicity and notoriety there 
yawns a dangerous gulf. 

"Perhaps my childhood, the things I 
saw happen after my father's death, have 
made me unusually wary. 

Marriage Has Changed Her 
"Derhaps my years on the screen, my 
experiences, have given me just this 
for a philosophy — to expect nothing of 
anybody. 

".-^nd I have learned to be happy. I 
think being Mrs:. Walter Morosco has done 
that for me. Walter frequently says to 
me that I am, today, totally unlike the 
shrinking, timid girl he married. .Afraid 
of my own shadow. He has taught me 
happiness by the infallible medium of ex- 
ample. 

"To e.xpect nothing, to work, to be in- 
dependent, to find happiness in things close 
at hand. I suppose that is my philosophy.'' 

We drove to my home about five o'clock. 
Corinne has always to be home at five- 
thirty when not working. "Walter likes 
to find me there," she said. 

We sat under white fur lined with mauve 
\elvet in a motor that purrs like silk. I 
ihought of the little girl watching the 
floor of her home close behind her. Out 
' f those childish blocks that bruised her 
' f'lrr 'iUc Ii.T, fmilt "The Divine T.aHv" of 



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Motion Picture Classic 

1501 Broadway, New York 



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S9 




T!rr 



The Second 

ChristWeighs 

Hollywood 

What would an ascetic prophet 
think of Hollywood? 

What would a man whose life 
had been devoted to things 
spiritual, w^ho had dedicated his 
existence to the study of the 
profundities of the soul, to an 
inquiry into the eternal verities, 
think of it? 

How would strike him its 
glamour, its lavish richness, its 
power, its display? 

These questions have often been 
asked. 

But never, until novir, answered. 

For in Hollywood today there 
is such a man: a profound and 
sincere and world-famed 
prophet. 

The man who is regarded by 
the great theosophist, Mrs. Annie 
Besant, and by countless other 
followers of this religion, as the 
Second Christ. 

Krishnamurti 

He is in Hollywood now; and 
for the first time he has con- 
sented to an account of his 
vievk^s upon Hollywood; its 
people, its purpose, its power 
for good and for evil. 

Krishnamurti's estimate of Hol- 
lywood, his trial of the capital 
and its people, his conclusions 
concerning what it possesses 
and what it lacks, are contained 
in an exclusive interview^ re- 
ported in the next, the Septem- 
bcr, issue of MOTION PICTURE 
MAGAZINE. 

This interview^, entitled "The 
Second Christ Weighs Holly- 
wood," is probably the most 
significant and sensational ap- 
praisal of Hollywood ever made 
public. 

MOTION PICTURE, the Sep- 

tember number, will be on sale 
July 28th. Watch for the date 
and for the magazine on the 
newsstands. You can't afford 

to miss THE SECOND CHRIST 
WEIGHS HOLLYWOOD— or 
any other of the up-to-the- 
minute and fresh features in^— 

September 

MOTION PICTURE 

It's a Magazine 
of Authority 



Nize Baby End De Baby Stozz 



(Continued front page 25) 



'Ivan the Tarrible,' " he says, laffing him- 
self seek, "and have Lon Chaney for Ivan 
and you'd be Tarrible." 

Dese Hollywoot broducers are nize fel- 
lers. They talk English so goot as if from 
Park Avenue or the Bronix they dunt 
come. They started life from pressing 
pents end chaufTering pushcarts end 
woiked up to having a wallet to press oflf 
them the pents, end a chauffer to drive 
tliem around in Rolls-Roysez. 

You esk what I think about Hollywoot ? 
Ho, boy ! It is feeled opp Hollywoot from 
fleppers from a gudgeous nature ! Witt 
ectors, witt directors, witt geg men, witt 
moofie — stozz — oy oy. In Hollywoot a 
man can enoin himself without it should 
cost him a cent, standing from the outside 
of tlie restaurant witt de nem from Mont- 
martre watching the stozz gung inside. 
Soch dollink baby stozz ! Soch cowboys 
with diamond belts, soch sheeks ! 

You esk what I think about the moofies? 
I only been here fife days already and 
maybe I didn't loined efferyting yet, but it 
came gredually the idea to me that what 
the moofies need is bigger and better Jew- 
ish peetchers, peetchers where the charec- 
tors is foist real pipple like the pipple 
which stend on your toes in the subway 
end stick from you the elbows in the ele- 
vators, real human beans foist end Jewish 
charectors efterwards. Soch a tings what 
it heppens when they make Jewish peet- 
chers ! Soch a way they make them talk 
by the subtitles ! It could come de woist 
foolishness. Jewish pipple dunt all talk 
Bronix. Some from them speak soch goot 
English as me. It comes over me the feel- 
ing to yall "Benena Hoil !"' when I see 
some these Jewish peetchers. 



Offices Are All Esh Trays 

Anp anodder thing Hollywoot needs is 
esh trays for de offices. Maybe you 
dunt hoid the story about de pessenger 
what go down from off of the tren in Ari- 
zona end went inside from de station house. 

"Where is it yet the bethroom?" he 
esked the stations mester. 

The stations mester pointed out from <fc 
weendow where was a gret deal of not- 
tings at all axcept two, t'ree tousend acres 
of flet land. "It's all bethroom," he says. 

De offices from de stoodio is all esh 
trays. 

An epson minded poison could think he I 
was in the Bronix when he stends in a 
Hollywoot flet house, end listens at de 
pipple over him end under him talking. 

Across from the airshaft what they i 
call it the "patty-o" in Hollywoot Mrs. 
Abrams what plays bits end Mrs. Baum- 
berg what plays extras exchenges the lat- 
est inflammation about the femmous ' 
moofie stozz. 

"Was it offle lest night, I esk you, Mrs. 
Baumberg ? Soch a hollerink ! Soch a 
coisink ! Every time it comes a party next 
door I get failure from the heart the ceil- 
ings should shaking so ! So it comes from 
living beside a heavy." 

"End did you see the vemp from thej 
lower flet gung out, Mrs. Abrams ! Sochj 
cheeks she got! Maybe it should be 
healthy color, but she is healthier from 
one side oder the other. God forbid ! Theya 
say she's getting off her husband a di-^J 
worce. Maybe that's what they say 'get-- 
ting ahead by decrees' is, no?" 

Do I like Hollywoot? Dunt esk! Ony, 
it ent any place for a femly man ! 



Eddie Props Up 

{Continued from fayc 63) 



treated now?" I goaded him mercilessly. 

"Well, of course, 1 liave my favorites," 
admitted Eddie. "I propped for Pauline 
Starke and Joan Crawford and Billie 
Haines and Johnny Mack Brown and 
Lillian Gish and Aileen Pringle and lots 
of others." 

"And played in their pictures after- 
ward?" I asked. 

"Oh, yes, the very first picture I played 
in was "Our Dancing Daughters,' with 
Joan Crawford, Dorothy Sebastian, 
Johnny Mack Brown and Nils Asther. 

"When I walked onto the stage, they all 
welcomed mc ! Oh, it was heart-warming. 

"Most studio people have been very nice 
to me always — props or leading juvenile, 
it seemed to make no difference. 

The Unkindest Set of All 

"It was mostly people outside the pro- 
fession who were different to me 
before and after I became an actor — 
mostly tradespeople and society people. 
They couldn't see me at all when I was a 
props. Now I can even owe them rent 
and they still will look up to mc ! 

"People in the studio seemed to want to 
iielp me. Billie Haines, Aileen Pringle, 
and Kanion Novarro were perhaps the 
very nicest among the players. But, of 
course, it was Byron Morgan who gave me 
my start. 

"I met Byron Morgan the day I was 
given the script to prop "Rookies," and 
that's the day I gave him a gag or two. 



My first gag? Well, there was a hard- 
boiled soldier who came into a room 
and spat into a cuspidor. I suggested that 
when that happened it rocked the spittoon. 
That would show how tough he was. It 
got over fine. 

"I got hurt rustling some extra heavy 
props and was lying around in bed at 
home, just about discouraged and fed up 
with the work, when Morgan sent for me. 
He gave me 'The Smart Set' to gag. It 
was tough work, but I got by. 

"It was Billie Haines who first thought 
of mc as an actor, I guess. He and Harry 
Rapf went to see a picture I had gagged 
one night, and Billie annoyed Rapf all 
through the picture telling him I should 
act." 

"Was there any jealousy among the 
property boys?" I inquired. "I mean 
about your promotion ?" 

"Oh, no, they were all tickled to death — 
thought that if I could get out of it, maybe 
they can. They come to me and say, 
'Do you think I could do so-and-so?' And 
what a lot of talented boys there are in 
the props department." 

But maybe they haven't all Eddie's back- 
ground. His family were all theatrical 
and circus people. His grandfather and 
grandmother were acrobats, his father a 
theatrical manager. He himself was stunt 
man witli Vitagrapli, and he was also 
assistant director once on Poverty Row — 
which, in picture parlance, means down on 
a certain corner in Hollywood where the 
cheap independents produce. 



I '"'' 



90 



91 



wm 



mmm 




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'. -5 



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How it docs it you may not care, but 
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Whether you arc fairest blonde, darkest brunette or 
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f beauty and luck. It bring^s both. 




Demand Tangee today. One lipstick for 
allcomplexions!,On sale everywhere. Records 
show that twice as many women are using it 
this year. Be sure you sec the name Tangee 
on carton and gun-metal case. The Geo. W. 
Luft Co., 4 1 7 Fifth Ave., New York. 

NOTE: Tungfe ishttling mij loothiiig htCMHie il km MCoUcrfum 
inie. TdKgtf l^ougt Compnit «»</ Ttmgft Crrmt I(piige htve -lie 
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Tangee Creme Rouge $1 (and for complete beauty treatment: 
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THE POWER OF 



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and the "Art of Make-up." Address Dept.M.EC.}. The George W. 
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Sm 



AJJr, 



«« 




Florenz Ziegfeld 

Famous Theatrical Producer, 



writes: 



**Several years ago, when I first 
began to smoke Lucky Strikes, I 
noticed that my voice remained 
unirritated after a strenuous time 
directing rehearsals, I passed this 
information on to my stars and 
noiv we are all agreed: Lucky 
Strike is a delightful smoke and 
most assuredly protects the voice, 
eliminating any coughing, which 
often interrupts a perfect per' 
formance," 




It's toasted 

No Throat Irritation No Cough. 



September 



l^fSJ'lON PICTURE 

Classic 



11 




The Talkie Panic 
Meteors of the Movies 
AieThe Children o/Me Stars Normal? I 





allurinq 

^oUeen Aioore I ace I owaerM' 
IS as dainty as tne cnarmin^ 
Lacly Tor whom it is named, 
it is just dense enough to lie 
close to tne skin -witnout \ 

dossing tne pores, /ind you 
'II like its iragrance. 

(^olleen Adoore lace I ov^der^ 



v^hite^ ilesh^ or brunette^ 

is 75c. At dl Owl Jms 

stores and agents lor 

ine Ow/ Utu2 to. 1 roduct& 



llcen 

Mocne 

ouider... 



lHeOwit>FiuC& 



\ 



m 




^^t^f 






A to *»X* A'6 «««* < ^UtO^« 



%t^^^l 



iU- 



.^'^rS^'"^ 






Scene* 
five «^' 



•pleni' 






'.V'>-^' 



^•;of"'* 



"England txpecu rt-try 

man co <lo Km dutyl" 






xt^cM 



MOTION 'PICTU'RE 




IL^' 



DCD 



Vol. XXVIII 



SEPTEMBER, 1928 



No. 1 



Notable Features in This Issue: 

THE GREAT TALKIE PANIC Dorothy Calhoun 

iMETEORS OF THE MOVIES Herbert Cruikshank 

FOLLIES OF BROADWAY Mary Nolan and Dorothy Manners 

ARE THE CHILDREN OF SCREEN STARS NORMAL? Ann Cummings 

GOING HOLLYWOOD Helen Louise Walker 



16 
18 
21 
30 
48 



The Classic Gallery 11-14 

Marian Nixon, Greta Garbo, Norma Talmadge, Neil Hamilton 

Pictures and Personalities George Kent Shuler 15 

Chi Knees — picture page, blanche le clair 20 

A Pollyannic Pola Gladys Hall 22 

Strum Baby — picture page, corinne Griffith 23 

Hollywood Horrors — cartoon h. o. hofman 24 

Photo by Saronv Dorothy Donnell 25 

Lift and Let Li'ft B. F. Wilson 26 

A High-Stool Girl — picture page, aiace white 27 

"I'm Going to Be Diff'runt!" Gladys Hall 28 

A Latin in Satin — picture page, renee adoree 32 

From Embalmy Days to Balmy Herbert Cruikshank 33 

Secret History of the Month Cedric Belfrage 

In Memoriam : — picture page, Rudolph Valentino 

Accept This Elegant Key Cedric Belfrage 

Richard Is Himself Again — picture pages, Richard dix 

Knight Life in Hollywood Dorothy Spensley 

Shaking Hay — picture page, betty compson 41 

Isn't Love Wonderful? Dorothy Manners 42 

A Mantel of Beauty — picture page, nancy Carroll 43 

Classic's Family Album — picture page, clara bow and gilbert roland 44 

Just a Little Gypsy Sweetheart — picture page, dolores del rio 50 

Mister and Missus — {caricature by Armando) Carol Johnston 51 

A Wray With Him — picture page, fay wray and Gary cooper 54 

A Ham Among the Yeggs Murray Irwin 55 

Out Where the Wet Begins — picture pages 56 

Is Time Rotting Our Film Records? Lynn Fairfield 58 

Embracelets — picture page, JOHNNY HiNES AND LOUISE Lorraine 59 

The Rain of Terror — picture page, "noah's ark" 62 

A Serbian Cinderella Mary Willis 63 

Barely Able to Sit Up — picture page, alma bennett 64 



34 
36 
37 
38 
40 



The Classics Famous Departments 



They Say — Letters from Classic readers 6 

Our Own News Camera — The film world in pictures 45 

The Celluloid Critic — Some current films in review Laurence Reid 52 

Looking Them Over Out Hollywood Way — Newsy close-ups Dorothy Manners 60 

The Answer Man 74 

Cover portrait of Sue Carol by Don Reed from a photograph by Edwin Bower Hesser 



Laurence Reid, Editor 

Colin J. Cruickshank, Art Director 

Classic comes out on the 12ih of every month. Motion Pictire Macazime the 28th 



Subscription $2.50 per year, in advance, including postage, in the United States, Cuba, Mexico and Philippine Islands. In Canada $3.00; Foreign 
Countries $3.50 per year. Single copies 25 cents postage prepaid. United States Government stamps accepted. Subscribers must notify us at 

once of any change in address, giving both old and new address. 



Published Monthly by Motion Picture Publications, Inc., at 18410 Jamaica Ave., Jamaica, N. Y. 

Enlertd at Ikt Pott Ofict al Jamaica, N. Y., as ncond-class malttr, undtr tht act of March 3rd. 1S79. Printed in U. S. A. 
Geor^ Kent Shuler, Prtiidtnt and Trtasurtr; Duncan A. Dobie, Jr., Yict-Prtsidinl; Murray C. Bernays, S*cr»tary. 

EXECUTIVE and EDITORIAL OFFICES, Paramount Building, 1501 Broadway, New York City 

European Agents, Atlas Publishinl Company, 18, Bride i^ane. London, B. C. 4. 
Cotyritkt, 192i, by Motion Picturt Pnblicationt, Inc., in Ikt Vnittd Statu and Gnat Britain. 



Letters from Classic Readers 



$15.00 LETTER 
The Silent Drama 

DEAR EDITOR: 
Recently certain critics made state- 
ments wliich prove conclusively that 
they do not understand the . scope and 
effectiveness of picture plays; and it is to 
these that I would give answer. I address 
those who predict that the silent drama 
will soon be replaced by the new sound- 
producing films. 

The silent drama in its ideal form, has 
no need for spoken dialogue. It is drama 
expressed in pantomime and when its ef- 
fects have been properly planned and inter- 
preted it is a complete and distinct form 
of expression. Spoken dialogue would 
mar its effect. 

A good moving picture actor expresses 
ideas and emotions adequately in action 
alone. A great director plans and directs 
a series of actions that make a completely 
expressive drama. 

What need for spoken dialogue has Lon 
Chancy, Emil Jannings, Pola Negri, Gloria 
Swanson, or any other of the host of first- 
rate motion picture artists? What use 
would Cecil B. De Mille, D. W. Griffith, 
Eric von Stroheim, King Vidor, or any 
other thoroughly competent director have 
for the spoken word. None whatever — if 
they know their business. 

Synchronized musical scores can add 
much to the effectiveness of a picture play 
but spoken dialogue can only be a hin- 
derance. 

Let the screen give sound to musical 
comedies, vaudeville acts, 
grand operas and concerts, 
but let it add to the silent 
drama only a good musical 
setting. Truly yours, 

Adrian Anderson, 

Birmingham, Alabama. 

$10.00 LETTER 
Applause for "Speedy" 

Dear Editor : 

HThis is a written applause 

for "Speedy." Children 
clap their hands loudly and 
sincerely during any part of 
a picture that pleases them. 
We over twelve years sit 
silently and limit ourselves to 
remarks of praise or disgust 
in our companions' ears. 

Oh, to have been a child 
the other night ! "Speedy" 
is full of the sort of stuff 
that tempts our hands to 
come together in a happy, 
snappy bang 1 

We have seen drama, senti- 
mental syrup, slap-stick, mys- 
tery, wild west, and indigesti- 
ble sex on the screen, but 
they are all topped and tipped 
by the good comedy picture 



such as Harold Lloyd creates. His possi- 
ble nonsense lends itself perfectly to the 
camera. And "Speedy" is such possible 
nonsense. Mr. Lloyd knows just when 
to side step from the ridiculous. 

"Speedy" is an unassuming hero — a 
young man of faith and fate. He is 
imaginative — witness his base-ball scoring 
at the soda fountain ! He is shrewd — see 
how he adds a line to Pop's |10,000, making 
it $70,000. He is loyal— his sweetie and 
Pop are his life. He is an idealist — re- 
member the home in the moving van? He 
is brave — fighting with fist and wit a gang 
of thugs. He is determined — he ran that 
horse car once during the twenty-four 
hours under the most suspensive circum- 
stances, and M'OH .' 

"Speedy" has the virtues that make for 
character, with enough of the "Old Nick" 
in him to make us wonder if we won't 
meet him on the street any day. 
Very sincerely, 
Helen Jensen, 

Detroit, Michigan. 

$5.00 LETTER 
A Trip to Movieland 

Dear Editor: 

YY/hen troubles press on every hand, and 
life seems dull and drab and dreary, 
I take a trip to Movieland, and soon for- 
get that I am weary. My woes are chased 
away by smiles; no journey could be 
brighter, shorter. A flash ! We're in the 
South Sea Isles ; the total fare a modest 
quarter. Along that moonlit coral strand 



We Want to Know 

What you think of the movies and the stars. This page 
is devoted to Classic's readers, who are invited to write 
about their impressions of the pictures and players. Be 
as brief as possible, as letters must not exceed 200 words. 
We also suggest that you be entirely fair in your views. 
In other words. Classic would like to receive construc- 
tive criticism or arguments about the productions and 
performances. 

Fifteen dollars will be paid each month for the best 
letter, ten dollars for the second, and five dollars for the 
third. Besides these three prizes, we will also pay one 
dollar for any other letters printed. If one or more 
letters are found of equal merit, the full prize will go 
to each writer. 

Anonymous letters will not be considered. Sign your 
full name and address. We will use initials if requested. 
This is your department. We want you to take advantage 
of it. Letters must be addressed: The Letter Box, 
Classic, Paramount Building, 1501 Broadway, New York. 



no spirit could be heavy-laden, as heart i 
to heart and hand in hand, the hero wan- 
ders with the maiden. A villain lurks be- 
neath the palms, and plots his evil machin- 
ation; follows suspense and inward qualms 
fed by your own imagination. The lovers 
now are torn apart ; Virtue is slain with- 
out a reason ; the hero sacrificed to art, 
^''ice is triumphant for a season. What if 
it is the same old biz! What if you recog- 
nize the hokum ! You know the villain 
will get his ; the hero's sure to catch and 
choke 'im. And so you cheer the same 
old fight, and yell severely, "Give him hell, 
son !" then see the lovers wave Good-night, 
and fade out in the same half-Nelson. 
What if it is the same old brand, if one 
brief hour be free from sorrow, and you 
forget, in Movieland, your bills that will 
come due tomorrow ! 

Yours very truly, 
W. W. R. 
North Adams, Massachusetts. 

$1.00 LETTER 
Sea Stories, But Not Gruesome Ones 

Gentlemen : 

\Y/hy this epidemic of gruesome stories 
of the sea? Why all these brutal sea 
captains who flay and chain their prisoners 
and make life generally miserable for 
them? 

Must every sea story have a sordid, nasty 
plot, must it be crammed with brutal and 
cruel characters? There have been so 
many of these so-called realistic sea 
stories, that the average person who really 
is not a blood-thirsty moron, 
will run a mile when one is 
advertised. 

In our city it began with 
Barrymore's "When a Man 
Ix)ves." This was not a sea 
story, to be sure, but the 
ocean episode left a dark- 
brown taste in the imagina- 
tion that was hard to forget. 
"Captain Salvation," for all 
the fine acting of Lars Han- 
son and Pauline Starke, left 
the same impression, and 
"The Blood Ship" contained 
sequences that were too har- 
rowing for words. And now 
comes the worst of the lot, 
"The Haunted Ship." 

Why doesn't some pro- 
ducer give us those fine sea 
stories like Thomas Meighan 
used to make? Or, why not 
film some of Edward Con- 
nolly's sea tales? 

But deliver us from these 
horrid, sordid stories of the 
sea which we have suffered 
far too long. 

Sincerely, 
A. C. Bordeaux, 
Dubuque, Iowa. 



6 



Educational 
Picture! 

alitayt make a good 
show better 




A New Series 

Watch for it 

Ri:SI« FARREI.I. 

•Srialor 

with 

REED HOWKM 



XIERnAin 

(O.nBUIEM 

(Jodt Whlu ProduetlonM) 



Lyman H. Bovpm** 
HODOE.PODAE 




■ DEAI> C'OnBDIEM 

urith JERRY DREW 



TCXRDO 

C'OnKDIES 

(Jack Vkif Produetlotu) 




How bi^ is 
"Bi^ Boy''f 

Smallest of the screen »itai*s, and 
youngest, too . . . he's only ''^four, 
goings on five">{< But In personality 
and appeal he ranks with the big- 
gest of 'em all •^•i- ITIIlllons on mil- 
lions knoii«' ^^Blg Boy," and every 
one who knows him loves him •i- 
These millions have laughed over 
''Big BoyV antics In ''iShe's a 
Boy," ":\avy Beans," "Kid Hay- 
seed" and his other recent come- 
dies ^ They'll laugh more than 
ever at the ne^^ ones coming for 
this season, for he's funnier than 
ever In them -t H'^e dare you to 
watch "Big Boy" for half a min- 
ute without smiling and for- 
getting your troubles! 






THE SPICE OF THE PROGRAM" 



Ml. If*, tfammout, l>resi<IrBt 
KxecBtirc Offlccai 1301 Broadnay, New li'ork, N. Y. 



See any of these and 
you'll know v/hy Educa- 
tional has led the field 
of "Short Subjects" for 
so many years. 






1.IJPINO LANE 

in 
Luplno Lanm Comedimt 



HINORRAMH 

Firtt Among 
NEWS REELS 




DOROTHY DEYORE 

in Dorothy Dmvor« 
Cofnmdim 



OCR \VORI.D 

TODAY 

A Modern Screen lHagamine 



CAnEO 

COnEDIES 




"TW^M 



UowARD Bretherton will direct Dolores 
Costello in her next Vitaphone fea- 
ture, "The Redeeming Sin," adapted from 
a story by L. V. Jefferson. Conrad Nagel 
will again play the male lead opposite 
Miss Costello. 



UowARD Hughes has announced that he 
will film Wilson Mizner's original story 
based on the Titanic disaster. Louis Wol- 
heim, Raymond Griffith, Ben Lyon, Lucien 
Prival and John Darrow have already been 
cast, and Lewis Milestone will direct. 



Goldwyn to play opposite Greta Garbo in 
"A Woman of .\ffairs." 



Oeorce O'Brien will play the 
leading male role opposite 
Mary Astor in "The Fog," based 
on a story by Charles Francis 
Coe. Earle Foxe is cast as the 
villain. 



TTox has just purchased screen 
^ rights to "Behind That Cur- 
tain," a mystery novel by Earl 
Derr Biggers. The picture will 
be in movietone and will be di- 
rected by Raoul Walsh. 



T3uTH Chatterton, the well- 
known star of the legiti- 
mate stage, has just been signed 
by Paramount to play Emil 
Jannings' leading lady in "Sins 
of the Fathers. 



Tune Collyer will have the 
leading feminine role in the 
Fox picture, "Chasing Through 
Europe," showing the further 
adventures of Newsreel Nick 
Stuart. They will leave for 
Europe shortly with David But- 
ler, who will direct this sequel 
to "The News Parade." 



"^luffers," an original maga- 
zine story, by Robert S. 
Carr, will be Alice White's 
second feature vehicle. It vnO. 
go into production under the 
direction of Mervyn Le Roy as 
soon as Miss White completes 
"Show Girl." 




Irene Rich has been signed for the title 

part of "Ned McCobb's Daughter," follow. 

ing her splendid work in "Craig's Wife. 



"T^HE Mysterious Lady" is 
the final title of Greta Gar-' 
bo's new starring film recently 
completed. It is a storj of 
Viennese adventure, formerly 
known as "War in the Dark." \ 
Conrad Nagel plays opposite 
Miss Garbo. 



Production has been started 
at the Fox Studio on "Riley, 
the Cop," glorifying the Ameri- 1 
can bluecoat. Farrell MacDon-j 
aid has the title role, witi 
Nancy Drexel and David Rol 
lins in the supporting cast. 



HThe second all-talking Foj 
comedy is now being made 
with Sammy Cohen, Marjori* 
Beebe, Tyler Brooke and Beni 
Bard. It is a short sketch by] 
William Conselman entitled] 
"Four A. M." 



"CcARLET Seas," previonsi] 

called "Mutiny," wQI be the^ 
next Richard Barthelmess pic< 
ture to go into production for] 
First National. John Francis] 
Dillon will direct. 



Qlive Borden has been signed 
by Columbia for the fea- 
ture role in "The Younger 
Generation," to be made from Fannie 
Hurst's stage play, "It is to Laugh." 



I ndenvood & Underwood 

When Mary Pickford stopped in Chicago recently on her way 
back to Hollywood, she parted with the famous blonde curls 
that have been a veritable trade-mark to her. This photograph 
shows Mary in the act of losing her locks 



RiN-TiN-TiN, Warner Brothers' 
canine star's next feature ' 
will be "The Outlaw Dog," 
which will be filmed in the "Big 
Trees" country of Northern Cal- 
ifornia. 



\nita Page has been assigned the role 
of leading lady to John Gilbert in 
"The Mask of the Devil." This part was 



'"yniRST," the action of which 
takes place in a desert in 
Central Africa, will be John 
Gilbert's next vehicle. It is an 

original story by John Thomas Neville 

and Dale Van Every. 



]YJack Sennett, producer of comedies for originally intended for Eva Von Berne, 

Pathe, will soon begin production of " '" " 

two-reel comedies with RCA Photophone 
talking and sound effects. 



Metro-Goldwyn's new Viennese player. 



'J'he following are some of the principals 
who have already been cast for Uni- 
versal's "Show Boat": Laura La Plante as 
Magnolia; Joseph Schildkraut as Ravcnal; 
Alma Rubens as Julie; Emily Fitzroy as 
Parthcnia Ann Hawkes and Otis Harlan 
in the role of Cap'n Andy. 



Kenjamin Christensen will shortly begin 

■ — work on Owen Davis' play, "The 

"J^ARD Rock," the Milton Sills' picture Haunted House." It will be released by 

now being made in the Sierra Moun- First National, 
tains under the direction of Edward Cline, 



]\/Tetro-Goldwyn-Mayer has acquired the 
screen rights to "The Last of Mrs. 
^ , , ; r, ■ T 1 Cheney." Norma Shearer will do it fol- 

Qarl Laemmles niece, Beth Laeramle, ^^^.^ ..^ Little Angel," which is now in 
hag changed her name to Beth Uerol. production. 

"A Son of the Golden West" is the title 

■^ of the first Tom Mix Western for TTmversal is producing musical comedies 
FBO. Sharon Lynn will play opposite in sound. Nat Ross will direct the 

Tom first, the title of which is 'The College 

Hero." "The Minstrel Show" will also be 

filmed embodying the atmosphere of the 
old-time black-face shows. 



is a railroad story, with a sensational wreck Daul Fejos will direct "The World To- ^^^ Wild, 
scene. Thelma Todd and Yola d'.Avril are morrow," Universal's first complete talk- 

in the cast. 



Teon d'Usseau has been assigned to direct 
^ Ranger, FBO's dog star, in "Fury of 



ing movie. 



A RTHUR LuBiN who has been on the legit 
and will return to it in the fall, has 
the leading role in the Gotham Production, 
"Times Square." 



8 



Having just completed his role in "The 

Awakening," opposite Vilma Banky, 

Walter Byron. Samuel Goldwyn's English 

importation, has been loaned to M»iro- 



Droduction on FBO's "Singapore Mu- 
tiny," a colorful story of the Far East 
by Norman Springer, will shortly go into 
production, with Ralph Ince directing and 
in the leading male role. 



1 



Coming Pathe Pictures 
uAlNNAPOUS" 

^;th leanette Loflf and John Mack 
Brown.Drr:"edbyW.ChriBlyCabanoe 

ROD LA ROCQUE 
..LOVE OVER NIGHT" 

^r/uormrecfedbyEd.ardH. 
Griflfith. 

LEATRICE JOY 
^.MAN-MADE WOMEN" 

with H. B. Warner, John Boles and 
Seena O^en. Directed by Paul L. Ste m 

PrXced by Ralph Block for DeM.Ue 

Picture* Corporation. 



44' 




Coming Pathe Pictures 

.TENTH AVENUE'' 
Ik PHYLLIS HAVER 

^^S COP" 

C»"«"*"°"; , ,„c. present. 

J°'"'n?«rRED MARK" 
"THE KEU '"';„„„ Gi.... 

Cru«e- ^_ 




g 






'^1 



'°^''" ,. Baguette, Jeane««Ss Haver, 
There's Un»B::?:^„, Sue Cajol^^'^^i^e l^ga- 
"""'.'^rio^ Marie Prevost, Jacq 

^"'"11 .!!: «ovd, George D-^-'v^^on) 




«»»'.T Toy, Marie Prevosv, .---. 

l^,tr.ee Joy, ^^ »?!?„T'Var«.ni, 

*""* S'unS' S°f' Mad B^owr., Eddie 
^'"'k SehiWUraut, John MacK 
^Q^an^lan Hale. ^^^„„,, ^ig 



1 



Why Did Mary Do It? 

Not SO long ago Mary Pickford had her curls cut off. 
Why? 

The step was too radical to be meaningless. It was due 
to no w^him, to no flitting fancy. 

As w^ell might Adolphe Menjou announce his intention 
to play in w^esterns, Alice White be chosen to succeed 
Pola Negri, or Bull Montana be cast as Hamlet, as that 
Mary part w^ith her spiral trade-marks. 

There are those w^ho say she did it as a last desperate 
move to induce Doug to stop smiling. Or, by force of 
sw^eet example, to get him to cut off his mustache. 

But nobody really know^s. 

Yet this much may be said: When anyone does know^, 
the readers of MOTION PICTURE MAGAZINE will, 
too. 

For this is the periodical devoted to the interests of the 
screen w^hich gets the nevv^s first, gets it right — and 
spreads it broadcast. 

There are some big new features in the next — the Octo- 
ber—issue of MOTION PICTURE. And it will be on 
the newsstands August 28th. Make a date w^ith your- 
self nov/ to be there, too — just to be sure that you get 
your copy of the October MOTION PICTURE. 



It's the yiagazine of Authority 



'^ 



^j 



10 




lil' 









iHHS9BRimi 



"The Woman Disputed" is her latest photoplay. And 
it would seem that, in the smaller picture, one of the 
disputants is on the unseen end of the wire. Norma's 
expression, too, indicates that he is the winner and new 
champion 

W. F. Seely 




Neil Hamilton 

He's doing a dangerous thing, coming out in a picture 

entitled-"Take Me Home." If one per cent, of his feminine 

followers takes the title literally, he'll have to throw 

barbed-wire entanglements around his house 



The Magazine With the Personality 

)j MOTION PICTURE. 



(^L^^«IC 



Pictures and 

Personalities 

By George Kent Shuler 



Publisher 



THE topic of the hour in movie circles continues, natu- 
rally, to revolve around the talkies. A complete en- 
cyclopedia could be written about the various pros 
and cons of the subject without getting down to the meat 
of the matter. Most everyone concerned with picture 
production is becoming panicky. First are the producers, 
who are hastily installing the necessary apparatus to record 
sound and vocal efifects to keep pace with their brethren 
who are cashing in on the new design of the cinema. 

With this novel process of picture-making confronting 
them, they are doing their best to adapt themselves to 
the new order of things. But in their haste they have 
become panicky. They want to collect — and collect 
quickly — regardless of the fact that the talkie development 
cannot be worked out in a day or a month or a year. 
But those who have story aces up their sleeves should 
not put the cards on the table too eagerly. Even the 
best idea in the world can be spoiled with haphazard 
methods, even though it credits its sponsor with foresight 
and imagination. 

Take Your Time, Boys 

■"The company that takes its time — that works out a 
•'clearly defined policy of making talkies — is the one to 
cash in pretty when the public becomes fed up on the 
novelty of vocal effects. As most of the boys are work- 
ing now, they have gone back to first principles. And 
those sitting on the sidelines, who have a fairly good 
])erspective on the talkies, have declared that the screen 
has gone back 'anywhere from five to fifteen years. These 
critics are not talking so much out of turn, since screen 
technique (the mechanical side of production), looks de- 
cidedly like a throw-back to "The Great Train Robbery." 
But the dollars must roll in, since the public has become 
dissatisfied with the present-day picture and the ten, 
twent' and thirt' vaudeville which accompanies it. How- 
ever. Mr. and Mrs. Fan and all the little Fans (all being 
children of Mother Nature, a fickle old woman and 
intolerant at best) will ultimately reject it after the nov- 
elty is worn off, unless class stands out in the production. 
The primary quality of pictures is movement. .\nd where 
actual flesh and blood is lacking, the producers cannot 
ex])ect to emulate the stage, make their screen puppets 
a lot of chatter-boxes, and expect to get away with it. 




Several directors have taken pot-shots at the talkies, 
some even declaring it won't last a year. Their argument 
is that you can't develop screen pantomime for twenty 
years and throw it in the discard for the sake of giving 
vocal expression to over-night stars who are beginning 
to spell C-A-T and D-O-G like a child in the nursery. 
Naturalness, they say. is about to choose the quickest 
exit for a complete fade-out. 

More Than Fifty-Seven Varieties Now 

'T'he talkies will be worked out correctly in the end. 
*■ But before the perfect talkie is achieved, several asy- 
lums are ai)t to close their doors behind a host of the 
boys and girls who are now registering indignation, de- 
spair, melancholy, delusions of grandeur and a flock of 
inhibitions. 

The panic doesn't rest entirely with those who are con- 
cerned with the movies. We'll let the cat right out of 
the bag and tip you off that the sponsors of talkie devices 
are also running around in circles. At present there are 
approximately sixty-one devices for the reproduction of 
talking pictures registered at Washington. And more, 
doubtless, are on the way. 

Those in the highest state of perfection will naturally 
eliminate those that are not so good. A few of the 
devices are already operating. But it will take years of 
ex])erience, years of toil, years of disappointment and de- 
spair before the movie introduces the perfect synchroniza- 
tion of voice and sound — with perfect screen qualities, as 
they are recognized now, dove-tailing with voice and sound. 

Keep Out the Old Army Game 

^^UR advice to all the Higher-Ups and Lower-Downs 
^^ (and we're all in this talkie thing up to our neck) 
is to step out of the panic and come down to earth. 
There's nothing wrong with the movies except the busi- 
ness of playing the old army game — hitting the public 
in the face with too many pictures. The screen, as con- 
stituted today, is a vast commercial enterprise. The idea 
back of it all is to develop a constant Turnover to the 
tune of Supply and Demand. The supply has far ex- 
ceeded the demand. Maybe the talkies will solve it. 
They've got to be good. The public is still from Missouri. 

15 





reat 



Hollywood Has 
Advent of Sound 

By Dorothy Calhoun 



PSA 



In the oval at the fop: John (;ilb.Tt an. I 
Greta (iarbo; next helow is Lupc \elez: 
thi-n Culleri Landis and Helene Costeilo, 
in thf first all-talking movie; and. at the 
bottom. Emil Jannings 



Seventeen people stood in Ime at the 
box-office window of the new Warner 
Brothers Theater on Hollywood Boulevard 
the evening after the premiere of ■"Glorious 
Betsy." A Hollywood producer passed in his 
limousine. His eyes bulged as he counted the 
waiting line, he wrung his hands and lifted up his 
voice in lainentation. "Qvick! Qvick!" he wailed, "the 
silent drammer which speaks should be a success, God for- 
bid ! Already every minute I lose money ! A waiting line yet, oy, oy ! 
Drive by the studio. Tomorrow I should start a talkie." 

For a year Warner Brothers had been telling the world that they were 
making talking motion pictures that would revolutionize the industry. 
They waylaid press agents, players, writers, seized them by their re- 
spective Ijuttonholes and begged them to listen — 
make a million dollars. They cajoled everyone 
who came to the lot out onto the silent stage and 
pointed proudly to the camera hidden in a noise- 
proof booth. They said, "Don't you realise 
what is happening? Don't you understand 
what we're doing? This is the biggest thing that 
ever hit Hollywood!" And everyone yawned 
and said, "Talkies! Pooh, pooh! Nonsense. 
People don't want talking pictures." 

Then seventeen people stood in line for 
tickets to "Glorious Betsy" wherein Conrad 
Nagel booms, and De Segurola sings the Mar- 
seillaise and Dolores Costello lisps, "Jerome, 
my tomorrow hath come." And Hollywood 
proceeded to have hysterics ! 

Within a week, new million-dollar sound- 
proof stages were rising on every lot. The 
Famous Players convention meeting staidly 
in San Francisco to discuss next year's pro- 
gramme — which did not include a single 
talkie — was stampeded into a frenzy by the 
( rumor that Warner's was making a fortune 
out of the despi.sed innovation. It changed 
its plans overnight. Elocution teachers who 
have tnade a lean living since The Curfew 
Shall Not Ring Tonight packed their bags 
and took the next train for Cali- 
fornia to teach the stars how to 
talk. 

Speaking of Speakies 

Ceven schools of voice culture 
*^ are already established in 
Hollywood and reaping fortunes 
from panic-stricken players 
whose voices might suffice for 



IC 



Talkie Panic 



Hysterics Over the 
To the Screen 



saying, "Great stuff — where did you get 
it?" or "IMy wife is my severest critic" 
but were hardly adequate for talking mo- 
tion pictures. Screen auditions have taken 
the place of screen tests. Stars with 
whisky tenors have scrambled aboard the 
water wagon. Leatrice Joy is taking singing 
lessons, Emil Jannings is studying English. 
Wherever screen players are gathered together, 
at the Montmartre, at Henry's, at the Mayfair, 
there is only one subject of conversation, "What do 



you think 
voice 



about the talking pictures! 



I have seen Hollywood excited before this. The foreign invasion, 
costume pictures, war movies, the latest scandals have all rocked the 
town for a day and been forgotten. But I have never seen anything 
to equal the present hysteria of confusion, conjecture, terror, and 
change — all within the sj^ace of a few weeks. 
Pictures synchronized with sound have their 
enthusiasts who bang desks and shout, "The 
talkies are here to stay !" And they have their 
enemies who wail, "This means the ruin of the 
[ industry !" People argue, explain, prophesy 
[with voices raised to be heard above the ham- 
imering on the new sound-proof stages. Over- 
night, careers that .seemed as safe as Gibraltar 
have been threatened. Calamity faces the most 
popular stars, directors, scenario writers. 
Every day has its wild rumors of an invasion 
of trained voicer from the speaking stage. 

Among all the rumors floating about Holly- 
wood are fantastic theories regarding the rea- 
son for sound pictures. A woman star tells 
you bitterly that the producers are using 
them as a bluff to force new contracts on the 
players, and to reduce salaries. A studio 
executive admits that the picture business 
has I)een in a bad way for a year and that 
a novelty was needed to fill the theaters. A 
director takes you aside and solemnly as- 
sures you that the studios have been forced 
into adoj)ting the new medium by a group 
of radio ancl electric corporations that hold 
the patents for the sound devices and have 
threatened to go into a rival picture business 
thenisclvcs if the present C()m|)anies do not 
adojit their plans. ".A.ll the i)r(Klucers are 
sorry this has happened," he whispers, "but 
they couldn't helj) them.selves." 

Each of the movie com]ianies has an 
nounced a name for its new inven- 
tions. Warner Brothers, looked on 
enviously as the heroes of the moment 
{Continued on page 68) 




an- ^^ 



I ionol Barryniore. at the left, is one 
star lo beaefil by the talkies. Just 
above him is shown the sound-proof 
booth used in making audible photo- 
plays. With her foot in this photo- 
uraoh is Lva de Putti; and just above 

Novarro and Renee 

Adoree 



Duncan 



17 



•Am 




shkir 




eteors on 



Stars Who Havell 
Brilliantly, Butjl 

By HERBERT CRUIKSHANK 

THERE are meteors in the movies as well as in th| 
skies. They flash for a little moment across 
heavens, dimming in their flight the constant lustr 
of the old reliable stars that twinkle steadily and steadil) 
through many a box-ofiice storm. And then they ,di 
appear. Or at best leave a mere flicker behind to remind.1 
the world of their brilliant hour. 

How strange that these personalities who ride higb 
through the rarefied atmosphere of sensational stardom,'- 
should fall like Lucifer from public grace. Once in the 
saddle, one would think the rider would cling with might I 
and main to the steed that travels so quickly toward that 
pot of gold which marks the rainbow's end. But perhaps 
it is easier said than done. 

Whatever the reason, there are countless instances of 
motion picture players who have leaped from the misty 
past to the murky future of obscurity with but one picture 
marking the strange interlude of the present and its too- 
brief success. For a day opportunity appears a perma- 
nent house-guest. But the morrow dawns. The guest has 
gone. And all that is left is the sour solace of ancient 
adages. One swallow doesn't make a summer. Nor a 
single nugget a mine of gold. 

When Charlie Chaplin made "The Gold Rush," Georgia 
Hale played the part of the dance-hall girl. She was 
loaded with the gaudy jewels of critical acclaim. Wjth a 
bound she had vaulted over the moon into the land of 
milk and honey, where streets are paved with adulation, 
and hearts and dollars are flung neath the careless wheels 
of monogrammed Rolls-Royces. On the night of the 
photodrama's premiere, her sea of fortune reached flood 
tide. She had more offers than Constance Bennett dur- 
ing the hour after "Cytherea" was first shown. But the 
lawn was cold and gray. 

Hale and Farewell 

VY/hat happened to Georgia? She has been in other 
** pictures. There is still the sullen beauty, the somber, 
brooding charm, the very evident ability to put "it" in her 
personality. But from favorite in the cinema sweepstakes 
she has been relegated to the field, and the books will let 
you write your own ticket if you bet on her success. 

There was Gibson Gowland. And there was "Greed." 
Gowland played McTigue in Von Stroheim's morbid mas- 
terpiece. Those who never heard of him before have 
never heard of him again. He still acts in pictures. Pre- 
sumably, he retains all the qualities that made his epic- 
making performance possible. Presumably, his ex])eri- 
ence — his worth — is enhanced because of his great 
triumph in that great and gloomy production. But now 
you'll find him, if you watch, hidden away in obscure 

At the left, and from top to bottom: Belle Bennett, Gibson 
Gowland, and Mae Murray 




ovies 



Twinkled 
Never Twice 



roles. At best, leading the mob, or enacting some simi- 
lar bit of business. Yet, here is an actor that grasped 
the gauzy wings of the butterfly of fame in a manner to 
challenge Jannings's best effort, and to eclipse the mar- 
velous portrayal of Jean Hersholt. Why is it, then, that 
Jean has gone forward — alone ? • 

Is it possible that players are the merest puppets, after 
all ? Moron-mannequins whose every move is dictated 
by the master of the megaphone? Should the director 
take the bow, the homage, and the pay check? 

In conjunction with the strange case of Gibson Gow- 
land, consider that of Roy D'Arcy. Because Von Stro- 
heim directed D'Arcy in "The Merry Widow." And 
Von Stroheim directed Gowland in "Greed." 

How the writers raved over D'Arcy. Another this — 
a second that — a new Barrymore. Comparisons. And 
oh, how odious they seemed when the nine days' wonder 
passed. D'Arcy's break has been better than most. He 
still plays important parts. Fewer, less prominent, per- 
haps, as time passes. But still not so far back in the 
ruck, but that the crowd opposite the judge's stand has 
hope that he'll whip in a winner in a Garrison finish. 

Why not? D'Arcy hasn't changed. He's still the 
smirking crown prince who was Jack Gilbert Danilo's 
brother. The teeth are just as white. The smile as wide. 
The delightful air of savoir faire as manifest. Yet one 
of his latest roles was an indistinguished and indistin- 
guishable part in a screen version of "Trelawney of the 
Wells," notable for its thorough-going mediocrity. 

Making Mae Act 

VY/iiAT has happened? With Gowland and D'Arcy 
^ their own men much as ever, what is missing? Is 
it Von Stroheim? One is tempted to believe so. Doubly, 
perhaps, when listening to those catty individuals who 
sneer that Von made an actress cvcu of Mae Murray. 
.\nd of the legion of worshii)pers of the former fly-paper 
salesman who swear that he has repeated his perform- 
ances with players in "The Wedding March." Perhaps 
it is Von. He sold fly-paper in 'Frisco — where there are 
no flies. Perhaps that quality has helped him to make 
actors where none exist. 

Belle Bennett was twenty years a trouper before the 
world came to worship at her "Stella Dallas" shrine. 
It had been a long, long wait. But when that picture 
was released, the years seemed well spent. The burn of 
tears was forgotten in the flush of victory. Fame may 
be measured by newspaper lineage. W^here Belle got an 
inch, she received pages. No magazine complete with- 
out its gallery of her. No column readable without her 
description: what she wore, {Continued on page 72)) 

At the right, and from the bottom up: Georgia Hale, Roy D'Arcy, 
. and Betty Bronson 



I.aiisin.c / 
Brown /i 




IM 






Muiay 



1 



19 




Chi 

Knees 



Although not what you'd 
call shy knees — certainly 
not shy of beauty. They 
are the joint property of 
Blanche LeClair and 
Blanche LeClair. This is 
Blanche, in the costume 
of a maid from the Mon- 
golian Middle-West — a 
Chow Mein Street girl 



C. S. Bull 




les 



of Broadway \ 



By Mary Nolan 

With Asides in Italics 
By DOROTHY MANNERS 



5 HE Zi'os ill, so she u>as lying in an orchid bed with a 
luscious-looking green spread covering her. The 
room zuas a garden of hot-house floivers from people 
who zvere sorry. That she was ill, of course. A colored 
maid hovered about. A nurse's starched uniform rustled. 
A shaft of expensive sunshine streamed through the win- 
dow of an Ambassador Hotel suite and illuminated the 
hair of the girl who was once the toast of Broadway. 
Now she 7uas trying to live dozen those toasts in Holly- 
wood. Because they had touched her. Danger- 
ously. Broadzvay had wined and dined the name 
of Imogcne Wilson into sensational headlines. 
The great love affair of her life had furnished 
back-fence gossip for washerwomen and mani- 
curists. Bellhops had gossiped about her be- 
tzveen rings. Now, as Mary Nolan, she was 
trying to forget. And hoping Hollyzcood would. 
Imogene iVilson of Broadzvay — Mary Nolan of 
Hollyz>.'ood. The same girl. But a story lay 
between. She said hoarsely: 

I was born in a little town in Kentucky. Its 
name isn't terribly important. It was just like 
a hundred other little towns in the South. Honey- 
suckle blossoms bloomed. And negroes sang jazz 
songs. And prayed. And went to revivals. I 
don't remember much about it. I was too young 
when I was sent away from there. You see, both 
of my parents had died by the time I was three 
years old, and I became a problem to my sisters 
and brother. We were not rich by any means, 
and it would have cost money to have someone 
look after me if I was to stay at home. It was my elder 
sister, now dead, who decided to put me in a convent in 
Missouri. So, at three, I waved good-bye to the only 
people I had ever known and went off to a strange place. 
I guess it was the best thing. I don't know. 

Eleven Gray Years 

A NYWAY, I stayed in that convent until I was fourteen 
•^^ years old. It was the only home I have ever known. 
For eleven years I did the same things every day. Mostly 
I prayed. Before I could even lisp the words, I was 
saying long prayers in Latin. I prayed before I ate and 
before I slept. "Ave Maria — Gloria Patri" — but they 
were good to me. I guess it was best that I went there. 
At fourteen I left the convent. I don't know exactly 
how it came about. Things hapi^en so gradually in life. 





1 

i 



Lansing Bro«ii 

Many a girl has 
sought a screen 
career as a 
means to get- 
ting before the 
public eye. But 
Imogene Wil- 
son chose it as 
an escape. And, 
to assist herself, 
changed her 
name to Mary 
Nolan 



We hardly notice what brings about the changes. But I 
remember that it was just a little after my fourteenth 
birthday that I went to live with my married sister in 
New York. I must have been the hickiest looking little 
thing — in the funny clothes I wore. 

She cleared her sick throat. The nurse's uniform 
rattled ominously. It is not good for sick ladies with a 
sore throat to talk too much. 

Yes, I bet I was funny looking. I wore my hair in 
slick braids and my shoes were dull and round at the 
toes. But I didn't care. I was wildly, crazily happy. 
New York was a mirage to me. After all those gray 
years in the convent, the city was a circus — a kid's circus 
{Continued on page 72) 

21 



n 





ollyannic 




I 

y 




THIS doesn't mean that Pola has left to Lucy Doraine 
her cabochon emerald, her blocks-of-ice diamonds, 
nor yet has she deeded to the Hungarian houri the 
Prince Mdivani. 

It is less — and it is more — than these. It has, really, 
nothing to do with Pola's big-heartedness at all. It means 
simply that B. P. Schulberg has signed Lucy Doraine to 
fill the yawning gap left by the pallid Pola when, very 
recently, she moved on to pastures new. Address un- 
known. 

Lucy Doraine was "discovered" by Mr. Schulberg. In 
Germany. Her parents are the Baron and Baroness 
Perenyi, of Budapest, Hungary. They are. of course, im- 
poverished noble i)eople. War stuff, and all that. Lucy 
changed her name because — she was wed — what 

22 



Lucy Doraine, Chosen 

to Succeed the 
Ahdicant Miss Negri, 

Has Just the 
Qladdest Thoughts! 

B> Gladys hall 



fan would want to pronounce the name 
Perenyi every time they are seized with a fit 
over Lucy? What fan could? And besides, 
you can't live on a name even if it has a handle 
prefixed to it. So it's Lucy Doraine. The 
Lucy doesn't fit the case at all. Too limpid. 

Lucy began as a pianist and a dancer. She 
was all for being a music mummer. When ^he 
was twelve, in Budapest, she played before the 
nobility. Her parents objected to the public 
display because they are old-fashiond aristo- 
crats and believe that a woman's place is in the 
harem — I mean the home. 



B' 



Applause? How Vulgar! 

UT the applause of the nobility filtered, a 
divine intoxicant, into Lucy's blood. She 
decided that she would have more of it. Her 
father, hiding beneath his crown or whatever 
barons wear, decided that once jivas more than 
enough. The clapping of the royal palms was, 
somehow, a blot on the Perenyi escutcheon. 

He sent Lucy to a finishing school where she 
would be turned out according to the proper 
Perenyi pattern. Lucy had time and to spare. 
The three R's and the social amenities didn't 
consume her. And she took her time and her 
ambition and her vivid talent to the dramatic 
academy of her native city. A duller person 
might simply have run away. So many have. 
But not Lucy. Caution admixed with courage, you see. 
She told them at the Academy that she had no money. 
They said "Conie on in, anyway." They believed in her. 
And so, after studies at the finishing school were finished. 
Lucy would escape to the dramatic school and, all unbe- 
known to the baron, she perfected her technique of emot- 
ing and whatnot. 

When she was seveiiteen, six months after the Academy 
had taken her to its bosom, she made her professional 
debut as an ill-fated Jap girl in the Hungarian theater's 
production of "Mr. Wu." You have all seen our own 
Lon Chaney strut his stuff in that opus over here 

Among the audience were the Baron and Baroness 
Perenyi, probably secure in the thought that their Lucy 
{Continued on page 70) 







Strum Bahyl 



If Lady Hamilton had actually been as divine as she is 
represented on the screen by Corinne Griffith, Admiral 
Nelson would have stayed home and directed the Battle 
of Trafalgar by radio. Or maybe just have stayed home 

23 



J_. 



I 





ollywood 




The Comical Extra 

OTlTlOTiS* Thinks That DeMille 

Has Gone for the Da^ 



24 




B}' Sarony 

Louise Dresser Was Old Fashioned 

at Sixteen and Is Young at 

Forty'Six 



By DOROTHY DONNELL 



BILL HART tells me that she was the 
most beautiful woman that ever 
stepped on Broadway. 

Sarony photographed her then, Sarony 
the great theatrical photographer in the 
days when Lillian Russell was the 
reigning queen of the stage and Bill 
Haft himself^ was the matinee idol of 
girls in shirt-waists and pompadours. 
Curves were the taste of the nineties. 
Sarony shows her in a black taffeta 
dress that fits her slim roundness as 
though she had been poured into it, one 
black-gloved elbow resting on an ornate 
pedestal, a heavy coronet of golden 
braids framing the cameo clearness of 
her face. 

She had then — she has now — the lov- 
liest, most piquant profile I have ever 
seen. Profiles are one thing that don't 
change with the years — and that queenly 
young actress leaned her elbow on that 
pedestal in Sarony's studio almost thirty years 
ago. 

"I said to Daddy the other day, 'Jack, I'm go- 
ing to get my face lifted. I think I'm getting a 
double chin,' " smiles Louise Dresser ruefully. "Of 
course, I meant him to insist that I hadn't changed a 
particle. But he just looked at me and said, 'Well, now 
you speak of it, I don't know but you are.' For three 
whole days I simply sulked around the house, then I said 
to myself, 'Louise, maybe at forty-six it's time to be look- 
ing older.' " 

Two Kinds of Forty-Six 

THERE are different kinds of forty-six. Hollywood is 
full of one kind, determinedly dieted into slenderness, 
with expensively rejuvenated complexion and old eyes. 
At a very different forty-six Louise Dresser is not so 
slender as in the old photograph, and the golden wreath of 
hair is a little dimmed. But her eyes are young and she 
has a girl's laugh. 

She straightens, tenderly, the frame of the Sarony pic- 
ture. "I don't see why I keep this around, reminding me! 
And all the rest of my photographs. It's not modern to 
cover your walls with autographed pictures of old 
friends. I was told so the other day, but this is an old- 




Otto Sarony 



Seely 

fashioned house, and I'm an old- 
fashioned woman, and there's my 
life there on the wall." 

Funny stiff groups, the women 
standing, hands on the men's 
shoulders, scenes from old 
Broadway plays, sumptuous 
soubrettes in plumed hats. A 
young Louise with Weber 
and Fields, with William 
Collier, with Raymond 
Hitchcock. "That was 
in 'The Girl Behind 
the Counter,' and here 
I am with wonderful 
Lillian Russell. What 
a woman she was ! My 
patron saint — she was so kind to an unknown little girl. 
I adored her. That stoutish young man in the back- 
ground, there, is Douglas Fairbanks. And there's Norah 
Bayes. Norah and I both were once married to Jack 
Norworth — at different times ! She claimed that made us 
sisters-in-law. And now she's dead — I can't imagine it, 
somehow. She had so much joy of life. Wherever 
Norah is this minute, I'll wager she's having a glorious 
time and making everyone around her happy — that's 
Norah Bayes." 

Still Bee to Bill 

""Those fine, womanly eyes of Louise Dresser fill tvith 
■*^ tears. She turns abruptly away from the fading pho- 
tographs. "I think I'll put them away — out of sight. 
They remind me I'm playing mother-parts now. The 
other Sunday we were out driving, and stopped at Bill 
{Continued on page 78) 

25 




ift And Let 




That*s Broadway*s Motto, Says "Broadway*s" 

Co' Author. He Has Just Lifted a Quarter-Million 

From the Movies 




By B. F. WILSON 



WHAT do you think is the 
outstanding feature of vour 
play ?" I asked Philip Dun- 
ning, co-author of "Broadway." 
We sat in the darkened theater 
watching George Abbott direct a 
scene from "The Brass Ring," the 
latest dramatic opus from the 
pen of P. Dunning, Esquire. 

"The fact that nine 
out of every ten plays 
since it first went 
over have been 
stories of night- 
club life. This 
theater game 
is a swell 
business," he 
continued. 
"'Lift and 
let lift' is the 
motto, and I 
suppose for the 
next five years 
we'll see nothing 
but hoofers and 
bootleggers and 
night-club denizens 
until somebody else 
writes another 'Abie's Iristi 
Rose,' and then we'll go back to 
the old stuff of the Jews and the 
Irish. Who can tell?" 

He didn't seem to be very 
much overwrought at the idea 
that the lifting game was being 
overworked at his expense. 

"What will happen when the movie comes out," I asked. 

"Same old story," he murmured. "Every film after 
'Broadway' is released will have a gang-leader, a cabaret 
gal and her sweetie, and a couple of queer waiters for 
comedy purposes."' 

The sale of this play to the movies is another of those 
unbelievable fairy tales of finance. Two hundred and 
twenty-five thousands of dollars — the highest cash price 
ever paid for the motion picture rights of a play — is the 
amount Universal handed out for "Broadway." 

The story of the transaction is unique. Jed Harris, 
producer of the play in New York, had been approached 
by several film organizations. First National wanted it, so 
did Famous Players. An agent (representing some un- 
named company) crashed through with the highest bid. 

26 



Above are George Abbott and Philip Dunning, 

the authors of "Broadway," and below a scene 

from the play that made ' them as famous as 

the street they named it for 



Two hundred thousand. One of the e: 
ecutives over at Universal entered the raa 
Carl Laemmle was in London. A teL 
phone call was put through from the Uni' 
versal ofifice in New York to M 
Laemmle's hotel in London. The 
conversation, at a hundred dollars 
a minute, went something like this: 
"Hello! Mr. Laemmle? Gold- 
berg (I think that was the name of 
the Universal executive speaking 
from New 
York) speak- 
ing : We want 
'Broadway' for 
Universal." 

Mr. Laemmle 
'How much?" 
Goldberg: 
"Highest bid .so 
far two hun- 
dred thou- 
sand. Every- 
body's after; 
it. W h a t 
say ?" 
Laemmle: 
"Will they take 
two twenty- 
five?" 

Goldberg: "Yep." 
Laemmle : "Take 
It." 

Voice of the Lon- 
don operator: "I say, 
are you through?" 

Ditto New York: "Soitanly!" 
And- that's all there was to it. 
The two young authors were no- 
tified through Mr. Joseph Bick- 
erton, arbiter extraordinaire of 
the Authors' League, that a small-sized fortune awaited 
them at his office, any time they chose to call for it, and 
Mr. Goldberg sat back in his chair, lit a fat cigar, and 
concluded that he had done a good day's work. 

Everybody by now has either seen or heard of this play 
which for about a year and a half has been entertaining 
America. Without a star performer ; written by a couple 
of men who had previously little or nothing to their play- 
writing credit, it crept into New York without any pre- 
liminary announcement, and overnight became the the- 
atrical sensation of the season. 

The same old hard-luck story lay behind it. Philip 
Dunning had peddled it around Broadway for over three 
years. Nearly every manager in the city had let slip the 
(Continued on page 80) 



i 



^L 



A 

High- 
Stool 

Girl 



And one that stands 
ripht at the head of her 
class in the portrayal of 
the flipper sort of 
flapper. In her career, 
in the estimation of 
her unnumbered fans, 
and in the picture, 
Alice White is indeed 
sitting pretty 




27 



By GLADYS HALL 



IT'S a pathetic statement, because no 
one ever is — very. And if they are 
they are stoned out of Jerusalem. 

So many of them have said just that to 
me, so many times before. Ahnost all of 
them have said "Before my popularity 
wanes I'm going to quit." 

Mary Pickford said it. five or six years ago. 
Colleen Moore solemnly assured me that at the 
end of her First National contract she was 
through. Constance Talmadge has said it. Rod 
La Rocque once said it, They never do. A new 
contract is offered at so many hundreds per diem. 
The old fan letters continue to pour in. The box 
office holds up. Well, why should they? After 
all ? And so they continue to go on — and on — 
and one of these days the clock will strike 
ONE, the glass slipper will fall off and the 
poor little Cinders and Cinder ellas of the 
Screen will stand revealed as tired men and 
women, not so young any longer, the 
mantles of illusion stripped from their 
mature shoulders. One generation 
never learns from another. 

But "I'm going to be diff'runt," said 
brand-new Anita Page to me. 

"How?" I inquired. And sighed be- 
cause she was so very brand new and 
because she was saying it all over again 
and believing it and — oh, and every- 
thing ! 

I inventoried her while she inven- 
toried her thoughts, first saying, "Of 
course, a young girl doesn't have very 
int'rcsting thoughts !" 

Large blue eyes. Very large. Peach bluoni skin. New- 
penny colored hair. Round, soft features. Seventeen- 
year-old feattires. A tr^lce of Marion Davies. A reminis- 
cence of Blanche Sweet some years ago. 

Anita lived in Bayville, Long Island. With Mother 
and Dad and little brother. She went to the Washington 
Irving High School in New York City. She studied com- 
mercial art and was very good at it. But she had always 
known that she would be a movie actress. She didn't just 
hope to be, she knew that she was going to be, some day, 
somehow. 

Unfavorable Thawts > 

Chk had a friend in New York who acted as whilom 
*^ agent for her. She did an extra bit or two at the 
Paramount Studio in Long Island. The agent sent her to 
the new Kenilworth Productions. •• They signed her up 
and shii)ped her West, accompanied by her mother, need 
we say. In Chicago they were joined by Harry Thaw. 
That would be a shock to any young girl. For even a 
very young girl has heard detonations of the Thaw past. 
Mother Page was all for going back. Father Page wired 
them to return at once. Anita pleaded for her chance. 
Mother acted as stop-watch and didn't take her eyes off 

28 




Woodbury 



Just as LeKoy Mason promises I 
to be different, he goes and ref 
Anita. Mr. Thaw minds us somehow of Lupino] 

acted like a gen- ^""^ 

nulman and they 

arrived in Hollywood technically intact, but with a tar- 
nished reputation. It took Anita a bit of time and con- 
siderable dramatic ability to overcome the undeserved 
stigma. She had, if yoii will forgive me, to thaw the 
producers out. Mai St. Clair saw her and wanted her. 
The Metro lot were for her, to a man — but — they didn't 
know — a young girl liberally advertised as a protegee of 
Harry Thaw's-;— not — so — good. 

Anita talked turkey, chicken, duck and drake to Mr. 
Mayer himself. And the result was a five-year contract 
with Metro-Goldwyn-Mayer. In less than forty days and 
Harry Thaw; notwithstanding, the girl from Bayville had 
done what it takes the average youngster five years or 
never to accomplish. 

"Well?" I prompted the child of lucky breaks. 

"I'll be diff'runt because I have faith." 

"Faith in what?" 

Very softly, "Faith — in God. I don't believe that this 
IS all. I don't believe what a very great actor told me just 



MM 



Be Diff-ru ntT' 




R. H Louise 



So long as Anita 
Page doesn't suc- 
ceed in being 
different from 
herself, we're all 
for her keeping 
her resolution 



yesterday — that the grave is 

the end of everything. I 

wouldn't want to go on if I 

thought Hke that. I l^eHeve that we do go on — and that 

what we do here counts for us or against us. 

"I don't drink and I don't smoke. Mother says that I 
can do what I want when I am twenty-one but I won't 
want to. I value health too much. 

"I'ln going to save money — and how! I've started 'ight 
now. I've seen and read too much about i)enniless theater 
people when they are past doing anything about it. 

"I'm going to be married sotne day. I don't believe a 
woman is a woman unless she has had a child. I know- 
that T will have to go on living after I am thirty and forty 
and fifty, and it is then I will most appreciate a home and 
a husband and children. 

"I'll work and work hard for the next five, perhaps ten 
years. I'll inake the screen my life and give it everything 
I have. And at the end of that time / will retire. Posi- 
tively. I'll marry and travel some and have a home. In 
that respect I will be difF'runt. 

"I won't get high-hat. I couldn't. It wouldn't be me. 
I believe that all truly great people are simple people. I'm 



In Resolving 

This, Anita Page 

and LeRoy Mason 

Are Exactly Alike 



never going to have temperament or act 
hysterical and silly. I couldn't. Besides, 
everyone has been too good to me. 
VjSW M "I'm not going to let people flatter me. They 
l9if # may try to, but I won't believe them. I know- 
that no one is so important but that someone else 
could take his place. 
"I'm not going to try to please everyone. Nobody 
can. I'm going to do the best I can in my own way 
and just hope that enough people will like me. 
T want to play parts that are real, not arty. Girls with 
character and with a spice of the devil, too. For we all 
have it. Girls who are clean-minded, not ignorant. 
Girls who know about life and want to do something 
about it. 

"I've watched the others and I'm not going to make 
the inistakes they have made. I'm going to be 
ditif'rimt !" 

I sighed — and went on to the next. Youth beating its 
bright wings against walls it can never break down. Or 
can it? Will she? Who knows? 

On the afternoon of the same day l.eRoy Mason came 
to call. He spent a couple of hours w-ith me in the West- 
ern offices of the magazine. 

Another brand-new one, ardent w-ith faith, eager to 
change the pattern of things, believing that he will. 
Of course. 

My first impression was one of bewilderment. How- 
had they let this astonishing super-compound of John 
Gilbert, Valentino and all the inatinee idols of Hollywood 
compounded into one startling young man — how had they 
let him sleep on park benches or something for five long 
years ? 

It seemed to me that he should have been spotted in 
any extra crowd. Tall, magnificently built, coal-black 
hair of the most api)roved kind growing in shining swirls 
and side-burns. Moonstone gray eyes of a proportion 'to 
cause even the heart of a Garbo to miss a beat. Flashing 
white teeth. A shy, deprecatory manner calculated to stir 
the maternal — where have been the eyes of Hollywood? 

Leroyal Road to Earning 

roR LeRoy worked or didn't work for five long, lean 
*■ years witho.ut a break. A bit with Alan Dwan. .\ bit 
with someone else. A kind word or two. Nothing. 
A conference with Louis B. Mayer. A month of waiting 
al)out the Metro lot. Nothing. And in between extra 
work and no extra work there were days when a suit was 
sold to get something to eat. Days when there were no 
more suits to sell. Days of pride too stitif to go for help 
to the mother who believed in him or t(j friends who nVight 
have eased the way. Days when there was nothing but 
hope, very thin and desolate but hope none the less. He 
knew that some day- 



{Continucd on page 85) 



29 




re the Children of\ 



From the 
down: Dr. 
Tarr and Jane 
Hot; BiUy 
Faith Brook 
Felix, the 
Gloria Lloyd 
the chute; 
Joesph and Rob 
Keaton 



"y^> OD Made Her a Woman" runs a subtitle in the 
Ij "Jazz Singer," "But Love Made Her a Mother." 
Destiny made them movie stars, and nature — 
now and then — makes them parents. The children of 
many film players are not publicized as much as their 
police dogs. Some of them are merely rumors as far as 
the public goes. Gloria Swanson, Leatrice Joy, Eleanor 
Boardman have never allowed a photograph of their 
small daughters to be made public. Several romantic 
screen sheiks have successfully concealed from their 
fans the fact that they are fathers of families, on the 
theory that sex-appeal and domesticity are incompatible. 
One lovely blonde heroine of a hundred love dramas, 

30 



By ANN CUMMINGS 



known to be a mother, still gives dimpled washbowl photographsjl 
of her son to interviewers, though the baby of whom she speaksf 
so touchingly is a leggy young chap of fourteen. 

Shut out of the nurseries of Hollywood, gossip insinuates! 
spitefully that the reason the public isn't allowed to know about 
some of the stars' children must be that there is somethingjl 
wrong with them. What do you expect, adds rumor, when voui| 
think of the wild life these movie people lead? 

What sort of mothers and fathers do movie stars make? 
Do the handsome heroes of costume drama ever walk midnight 
floors when their offspring have pains in their tummies? Are 
gorgeous women of the screen thrilled over bottle formulas | 
"rst teeth? And are the children of movie stars any differ- M 
om the children of college professors, motormen and 
elists? 

Like Ancestor, Like Child 

/^NE way to find out anything is to ask someone 
^^ who knows. And in Hollywood that someone 
is Dr. Earl Tarr, one of the children's specialists 
who see these famous babies into the world, guide 
them through whooping cough and measles, sepa- 
rate them from their adenoids and prescribe for their 
mental and physical welfare. 

The most sensational statement that Dr. Tarr 
makes is that the children of screen celebrities arej 
more likely to be throw-backs to ancestors than the 
children of people in more humdrum walks of life. 
A musician's son, for instance, may inherit his 
father's talent, even his father's long sensitive musi- 
cian-fingers. Probably also a farmer's grand- 
daughter and a farmer's daughter will become a 
farmer's wife. But few children seem to inherit the- 
temperament and talents of film parents. 

The movies have been in existence only the length 
of one generation. There has been no time to hand 
down the traditions of the art from father to son^ 
as in the case of the great -theatrical families, to] 
develop inherited professional traits. The Gostello 




Screen Stars Normal? 



How Well Do Celebrities Play 
the Role of JParent? 



, girls might seem to be an exception, but they come of a long line of 
theatrical people. It seems probable, from a close study of the children 
of most movie families, that they will take after their storekeeper 
grandfather, their army officer great-uncle, their grandmother whose 
cake was the pride of the church sociables, rather than after mama or 
papa movie star. 

But — one suggests — this famous temperament one hears so much 
about — does that provide a proper background for children? If mama 
stages hysterics in the drawing-room because the picture isn't going so 
well at the studio; or if papa throws the furniture about when he reads 
in unfavorable criticism of his work, don't such emotional scenes have 
m effect on the tender mind of a young child ? 

Parents First, Then Celebrities 

'roRTUNATELY," says Dr. Tarr, "motion picture parents are able to 
* afford a large enough establishment so that their children are sepa- 
rated from the domestic upheavals which occur in any family life. 
rhey are far more sheltered from excitement, more quiet than most 
Jiildren. People sometimes ask me whether movie mothers don't neg- 
ect their children for their careers. I have always found them un- 
isually devoted. True, they must be away from the nursery much of 
he daytime, but they have the money and the intelligence to procure 
he best care possible. Trained nurses look after their children's 
X)dies and trained governesses watch their mental development. 
(\nd at the least sign of danger to their babies, movie parents forget 
hat they are famous stars and behave just like any 
)ther fathers and mothers. 

"I think there is no doubt that picture players are 
nore emotional than ordinary people. They have 
:o be. They are paid huge salaries to keep their 
motions always on tap. And in the case of symp- 
oms of sickness in their children they become much 
nore excited and anxious than most parents. Where 
VIrs. Smith would diagnose her small Johnny's fever 
a little cold and doctor him herself, rightly or 
vrongly out of the family medicine chest, a movie 
notber would send at once for a specialist." 
Stars who spend their lives obeying direction 





are a great relief to the harassed doc- 
tor who has tried to explain what he 
means by preventative medicine to the 
general run of parents with dubious suc- 
cess. A woman who prides herself on be- 
ing a good mother will tell a doctor firmly, 
"Ah, but a mother understands her child better 
than anyone else." A man whose life ' work is sell- 
ing bonds or writing advertising has ironclad theories on 
health and medicine, picked up from scattered reading, 
and argues heatedly with a doctor that inoculation against 
{Continued on page 81) 



Between Doris Kenyon and Milton Sills, at the left, is their son, 
Kt-nyon; in the circle, Arthur Stone's eye and the apple of it, his 
son; on the elephant is Mary Hay Barthelmess; to the right of 
her, Suzanne Vidor; above and between them, Conrad Nagel and 
his daughter, Ruth Margaret; and at the top, Tim Holt 



SI 







What We Hear From the 



Absolutely free and unsolicited tribute to the feeble shades 
of Wagner, Rembrandt and Shakespeare, given to the world in 
the super-artistic Los Angeles United Artists Theater, and re- 
ported by the Artists' Own press gang: 

"Acting as master of ceremonies. ' Cecil B. De Mille 
spoke for the motion picture stars present. 'Sculpture 
had its Rodin,' he said, 'music its Wagner and Beethoven, 
the art of ]:)ainting its Rembrandt, literature its Shake- 
speare and the motion picture art, the greatest in point 
of popularity and appreciation, has its Griffith!'" 




Decline and fall of the hitherto potent Sam Goldwyn publicity 
bureau, made public by its chieftain, Barrett C. Kiesling: 

"Lili Damita was the honor guest Monday at a press 
tea in the offices of Samuel Goldwyn, with whom she has 
signed for American productions . . . Eight guests at- 
tended, all active press workers." 

Tactless reference to the brawny Miss Daniels in a Paramount 
broadside: 

"Just when Bebe had almost completed her journey 
over the slender cable, the tug to which one end of it 
was fastened gave a lurch . . . Bebe dropped with a 
huge splash into the Pacific." 

Carrying out that genuine Shakespearian touch in the new 
Griffith "work of art": 

"Gerrit J.* Lloyd is now engaged in writing the adapta- 
tion and continuity of 'The Pioneer Woman.' Lloyd, who 
has been with Griffith for the past ten years, is one of 
the fastest continuity writers in the business. He has 
been known to complete a full and fiinished script — with 
revisions — in less than ten days' time." 

Piquanlly Rembrandtesque (or is it more Wagnerian?) re- 
mark from the Artist himself, probably shedding light on some- 
thing or other: 

"The chief function of a film editor," Griffith contends, 
'"is to pare directorial verbosity to the point where it is 
recognizable as a work of art whose limitations have been 
predetermined by intent, custom or practical application." 

Philological note from Metro-Goldwyn-Mayer revealing the un- 
couth foreign slang evidently shared by the Danish and English 
races: 

"Dane broke his shoulder falling off a bicycle for a 



comedy scene in 'Detectives,' and Arthur played tennis 
but not wisely and was laid up for several weeks. Nb^fl 
to put it in their own words, 'they're rarin' to go again.', 

Surprising revelation from the same studio of the poor muscl 
developing value of a fight with Cecil de Mille: 

"Jetta Goudal, playing with Marion Davies in 'H( 
Cardboard Lover,' wears no less than ten jeweled br 
lets in her role as the French vamp. She says it's 
she can do to lift her arm." 

Ineffably tender result of the Bebe Daniels good-luck cha 
competition, especially demonstrating the old truth that Hoj 
wood will pay just anything for a really original idea; from 
Paramount harbingers: 

"The prize winner is Lillian Callahan, of Long Bea^ 
and the token she submitted is a tiny insignia typifying 
spirit of Christianity. Out of the thousands of toke 
sent her. Miss Daniels felt that one in some way symbo 
of the Supreme Being should be. the one in which 
should place her faith." 

"The Paramount star made known her decision 
night after narrowing her selection down to ten talisme^ 

Another angry denial from Universal City of HollywooJ 
quaint old superstition that Uncle Carl's nephews are ipso \a.i 
Universal directors and that they come from Laupheim, Germar 

"Completion of but one feature production for Ur 
versal convinced Carl Laemmle of the ability of Willia 
Wyler . . . W^yler came to Hollywood from Switze 
land about four years ago. After a period of strugg^ 
be turned up as a director of Westerns. It was frol 
that post that he was assigned the job of directing 'Anj 
body Here Seen Kelly?'" 

Breuth-taking incident hot from the M-G-M sleuths, show 
that Hollywood still keeps its whimsical sense of humor: 

"Buster Keaton was playing with a large tripod sock 
and drop])ed it — and it happened the camera caught it afi 
it stnitk his foot. Everybody laughed but Buster." 




Items from the United Artists boosters giving just a faint coni 
ception of the perils to which an Artist is subject in the causi 
of Art: 

"How would you like to slap Norma Talmadge famil- 
iarly on the back? A number of extras were accorded 
this privilege when director Henry King ordered them to 



OF -n^vSiNi B 




Press Circles 



act as fbey would naturally act in the roles of trench- 
weary soldiers when they saw a pretty woman pass 
through their ranks . . . The extras took King at his 
word, and for several minutes, while cameras shot the 
scene. Miss Talmadge was all but manhandled." 

Innocent remark dropped on the scarred battlefield where 
"Uncle Tom's Cabin" was made, reported by Sara Jacobson. 
press agent by the grace of God and Carl Laemmle: 

" 'Your method here is very direct,' the Hungarian Sec- 
retary of State told Carl Laemmle. whose guest he was at 
Universal studio. 'There is no energy dissipated by work- 
ing in wrong directions. You first have a definite plan. 
Then you work at making it into a picture.' " 

Poetic frenzy of one of the Paramount prattlers: 

"Vacation time will find the film notables of Hollywood 
scattering like the petals of a daisy under the fingers of 
a high school lover . . . Esther Ralston will do her 
zooming on the deck of an ocean liner . . . Emil Jan- 
nings plans to confine his gasoline gallivanting to Cali- 
fornia." 



Delightfully candid confession of lawlessness from Fox studio: 

"Borzage is using every means of locating a tame crow. 
Ke is advertising in the daily ])ai)ers. broadcasting his 
requirements from various radio stations and seeking 
bird sellers and trainers who might know where he could 
obtain a crow. The state law ])rohibits cai)ture and pos- 
session of crows " 




Long-awaited light thrown by Lincoln Quarberg, Caddo chronic- 
ler, on the nature of actors said in Hollywood to be "groomed for 
"lardom": 

"The latest addition to the Caddo stable is Lucien 
Prival. one of the leading character artists in the busi- 
ness." 

.Another intensely human episode for Mrs. Schenck: 

"Xorma Talmadge — farmer! The famous motion pic- 
ture star recently spent a day digging, sacking and load- 
ing potatoes. Xorma has .some real blisters on her hands 
to show for her reel effort as a j)otato digger." 



B}' Cedric Belfrage 

Ending the perfect democratic day by roycing unto Schenck 
the things that are Schenck's: 

"Norma, in the character of one of the victims of war- 
torn Austria, was called upon to dig potatoes. They were 
delectable little new potatoes. And Xorma likes young 
potatoes. At the end of the day she had a goodly supply 
put in her fawn-colored Rolls-Royce and carried them off 
with her" 




The month's language innovation, a brand-new plural; from 
he haughty Messrs. Paramount, coincident with their striking 
lecision to omit the "P'" in Hampstead, London's suburb, in "The 
Street of Sin": 



Naive extract from the "columes"' of First National's broad- 
side: 

"Douglas Fairbanks, Jr., playing in 'The Barker.' is 
an author of note. He has had one volume of verse 
printed, and is busy writing the second." 

"If Monte Blue had had a tail, he would have been a 
mermaid. At least. Blue so asserted when he returned 
from five months in the South Seas. During the making 
of the picture. Blue was forced to go swimming 198 times 
for scenes of the production." (Extract from Metro- 
Goldwyn-Mayer publicity sheet.) 



On general principles we refuse to say what the publicity man 
who wrote this would h.Tve been under similar circumstances. 



IN "TOTO" or "IN TOTO"? 



"Mary Duncan played an entire scene of 'The Four 
Devils' last week with her hands alone. . . . Inciden- 
tally, it was the personality of Miss Duncan's hands that 
won her her first role on the stage with Leo Ditrichstein 
in 'Toto.' This same personality of the hands also was 
much in evidence in her portrayal of the role of Poppy in 
"The Shanghai Gesture.'" (From an Earle Ham]iton 
publicity panegyric.) 

( Continued ov page 73) 




MAY 6. 1895 



Suitolptj Halpnttno 



Helen Macgrregor 



AUGUST 23, 1926 



IN MEMORIAM 



In the hearts of all who knew him, his memory is still as 

vivid and as glamourous as the costume he wore in this, 

one of his greatest • roles 




ccept This 



Elegant Key 



(( 



It Won't Unlock Anything, 
But It's Yours/' Says 
Mayor Cryer of Los Angeles 

By CEDRIC BELFRAGE 



A KINDLY man, Mayor George E. Cryer of the 
City of Los Angeles, meets all trains with some- 
thing like the punctiliousness of the Toonerville 
Trolley, armed with a key for some lucky boy or girl 
arriving from the East. 

You can well imagine how crazy he has got the little 
flarlings of the him colony about collecting keys. The 
new hobby has all the allure of stamp-collecting, but is 
less trouble because a mere handful of keys looks as im- 
pressive as thousands of stamps. It also has the added 
advantage of giving the collector an exact 
rating in the scale of movie' celebrities. It 
isn't merely a question of how many keys to 
cities you can amass. Certain keys are harder 
to get than others. For instance, the key to 
Xew York is rarely given except to returning 
transatlantic flyers. Topeka's key is said to 
be about as hard to get as any. The reason 
s^iven for this is that nobody in their senses 
wants to go to Topeka anyway. 

Mayor George E. Cryer of Los Angeles has 
added new delights to key-collecting by con- 
stantly varying the types of key presented. 
He has evolved more or less of a scale of 
\alues, whereby a very big personage indeed 
receives an ormolu key of massive weight and 
so all the way down to 
he newly arrived nurse- 
ling star or beauty-con- 
test winner, who gets a 
key of three-ply 
wood or of flow- 
ers. The solidity 
of the key 'does 
not matter, inas- 
much as it won't 
unlock anything. 
But the Holly- 
wood kiddies find 



The town Cryer of 
Los Angeles is the 
Mayor himself. Next 
to him is the new 
City Hall, with the 
Mayor's car parked 
before it 





The fruits of 
celebrity: Norma 
Shearer, upon her return 
from Europe, is presented with a 
basket of oranges and the key to the city, by Mayor Cryer 



it's the greatest fun trying to collect a specimen of each 
kind of key that is given. 

The Low Cost of Giving 

I don't want to crab Mayor Cryer's virtues — 
■* for he is a kindly man — but it must be ad- 
mitted that rarely, if ever, does he pay for 
the key out of his own (I mean the city's) 
slender purse. In this seething haunt of press- 
agents there's nearly always somebody inter- 
ested enough in arriving celebrities to pay for, 
the key. All the Mayor has to do is present it. 
Keys for visiting philosophers and lecturers 
are supplied by "ism" groups. For movie 
stars they are paid for by the producer to 
whom they are under contract. Producers 
themselves buy their own keys and give them 
to the Mayor to give back to them. The 
Mayor is the essential factor, for nobody else 
is allowed to present the key to the city. If he 
presents it, it's the key to the city. If anybody 
else presents it, it's just a 
key. Darned clever, these 
Mayors. 

Sometimes it happens that 
a star or producer is not in- 
terested in collecting (can 
you imagine?), 
in which case, if 
he does a lot of 
traveling, he car- 
ries a permanent 
key around with 
him. Louis B. 
Mayer is said to 
have received so 
many keys from 
the Mayor of Los 
(Continued ou 
page 86) 

37 



V "^ 



ichard im 

From His lUnesslilief 

Emerg^ls S 

In Health Asip 



■/**t: 



-* ♦ >■ 






/i 



H 



^^^. 






'if i 



^py 



'^■'"r^ 



All Photos by Hommel 



Able to sit up and take notice? There's no question 

of that, even without referring to the pictures at the 

top and bottom of the page. He's up on his dogs again 

— and what's more, out playing with 'em 



38 



Himself Again 



;he Rugged Mn Dix 
As Sound 
[n Popularity 




Cabbages and things — green things. Dick eats a lot of 

them. And as for their doing him good — look at him. 

He's as chipper right now as his fans will be when the 

word is spread that his first new picture is ready 



S9 




jvriigh. 



t 




in 



Hollywood 



If You Think It Is the Woman 
Who Pays, Ask James Hall 

By Dorothy Spensley 



Ten score and eight years ago our fathers. But let's 
do right by our Nell. Let's skip back to the good old 
days of Launcelot and Galahad when King Arthur 
passed the beer and skittles 'round the Round Table. 
When knights were knights and days were, well, just 
daze. Happy, happy daze. 

What do you suppose Launcelot, for instance, would 
say if he read in the paper that Jimmy Hall had thirty- 
five suits ? 

Tall and slim, he would stand by the casement window 
with the morning tabloid in his hand. 

"Egad," he would say, stroking his long golden mus- 
tache. "Egad ! Imagine a chappie with thirty-five suits. 
'Tis trouble enough to keep this one. If the silver mesh 
of the tunic doesn't need repair, the breastplates must 
be polished. The plume on my helmet is forever in want 
of cleaning and the vizor keeps slip- 
ping down at the wrong moment. ^^^ 
Trouble enough with one suit, but ^^^^ 
thirty-five ! '' ^ ^' 

"Oh, Elaine! Here's 
a chappie with thirty- 
five " 



FOUR score and seven years ago our fathers would 
have been amazed to hear that James Hall had thirty- 
five suits of clothes. Today nothing shocks them. 
The flappers have seen to that. 

They were lucky if- they had two suits, with a black 
broadcloth to wear for funerals and christenings. And 
shoes. They should stand at least two more peggings, by 
cracky, or they weren't worth the two dollars paid for 
them. 



40 



Those were the days 
when every knight had 
his milk-white steed. 
When he charged 
down the tournament 
field. But that was all 
he charged. It was 
long before the days of 
credit evil. All was 
crash and carry. And 
let the equerries fall 
where they may. 

"The stores even 
open charge account's 
for you, without your 
knowledge or con- 
sent," Jimmy sat tell- 
ing me, "and phone or 
write you to become a 
charge account 
patron." 

We were talking 
{Contiti'd on paqc 77) 





Whether the sun chines or whether it doesn't, this is Betty Compson"s 

occupation in her newest screen character. She appears, in support of 

Mihon Sills and Dorothy Mackaill, as the hula dancer in a play of 

side-show life entitled "The Barker" 



41 





Spurr 

Ask Jobyna Ralston about her career and she will tell you all about Richard 
Arlen's. And she'll be giving you a true and direct answer, too 



THEY said, when Jobyna Ralston married young Dick 
Arlen, that she had lost interest in her own career; 
that Jobyna Ralston's place on the screen had be- 
come secondary to the niche her handsome husband occu- 
pied. They said Jobyna was more interested in her new 
home than in her close-ups. They said it w-as too bad. 
Jobyna, of the lovely photographic face, was allowing 
herself to slip out of the picture and Arlen was mounting 
to the top. Jobyna wanted it that way, they said. They 
said "Dick, Dick, Dick" was all she talked about. It was 
love. It was grand. But it wasn't doing Jobyna any 
good so far as the movies were concerned. 

I thought "Bosh!" or something like that. You see, I 
could rememl)er Jobyna when she was playing leads with 
Harold Lloyd, and there wasn't a more ambitious kid in 
Hollywood than the Ralston, with her curls down her 
back and her cute little giggly laugh. She wanted to get 
soniewhere on the screen and do the bigger and better 
things. The comedy stufif of the politer variety was her 
aim and she used to say nothing was going to keep her 
from getting there. Men? Oh, men were all right in 
their way, but Jobyna couldn't be bothered with them — 
not seriously, anyway. Men were all well enough to go 
dancing with and to serve as escorts in general, but 
Jobyna was just a bit of a heart-breaker. She allowed 
them to fall in love with her without getting her own 

42 



Love 
Wonder full 

(Not a D.W. Griffith Production)) 
B> Dorothy Manners 



affections involved in the slightest. I remem- 
ber a certain young business man, a romantic 
actor, an up-and-coming young press-agent, ij 
They had felt pretty tough when Joby said 
"No." 

I knew all this, and that's the reason it w 
hard for me to reconcile myself to the id^ 
of the independent-minded Jobyna giving u| 
"all" for a man. Any man. Even the fascf 
nating Dick Arlen. 

Journeying to Jobyna 

Tt was one of those (California days with 
*■ hundred little white clouds marooned lik 
islands in the sky that I Chevroleted out t 
Burbank to see Jobyna. I wasn't quite sur 
which one of the drowsily pretty homes alon 
Taluka Lake was theirs, but before I had gon 
very far up the tree-lined street I spotte< 
Jobyna herself in an old white coat and 
straw hat mashed down on her head pickin 
flowers from her own garden. "Hi," she sai 
Well, this was a honeymoon house if there ever wa 
one. It just yelled its new- founded domesticity. A 
enormous tree in the front yard threw one whole wiiij 
into shadow, and through the opened door I could se 
a living-room of fireplaces and book-shelves and hug 
easy-chairs. 

W'e stretched out on our backs under the Arlen tre 
and observed the clouds, lazily. Jobyna never looks s 
pretty as when she is informal. She had clasped he 
hands under her head and pushed her hat back and ever;^ 
now and then she picked a grass blade and nibbled at it 
root the way you do when you're lying on your bac 
on the grass. I said something about it being grati 
out here. 

"Yes," agreed Jobyna, "it's awfully nice and quiet f 
Dick. He's working like a dog lately and he comes hont 
dead tired from the studio. At first we didn't knov 
whether we were going to like being so far out froi 
town, but with Dick working so hard, I realize it is t' 
best thing in the world to be out where he can rest ai 
get to bed early without people dropping in at all hou^ 
of the night." 
Dick. You see? 

"What's all this about your losing interest in your worl 
and devoting yourself to Arlen?" I asked by way of ge 
ting right to the root of the thing. {Continued on page 86] 



i , 

* - 


^ 




' 


i 

i 


1 




1 




tl 



1 






Otto Dyar 



Mantel of Beauty 

A highly ornamental fixture in her new home, we will admit. But it seems 
so unnecessary. For why should Nancy Carroll have such a thing con- 
trived, when nature has already bestowed upon her a mantle of un- 
common loveliness? 



43 




Measured by years, it's not so long ago. But according to the number of events in their lives 
since this was taken, the picture represents ancient history. For then the girl with the bobbed 
hair was nearly as famous as she is now. But the only engagement that the gentleman with 
the bobbed waistcoat had ever had was to marry her. He has since shaved and succeeded. 
Who are they^ Of course: Clara Bow and Gilbert Roland 



44 



'• 



Qf^^^ 



Ki^mera 




(Glorifying the glory that was Caesar's: 
Jane Winton standing in the Constan- 
line Arch in Rome, with the Cplog- 
veum — properly — in the background 



oa 



One, two, three — fore! Clive Brook 

(in the center picture), with Mrs. 

Brook and their daughter Faith, has 

tee for three on the beach 



C. S. Bull 

Stars in sunlight: Dorothy Sebastian 

and Anita Page looking seaward and 

their prettiest on the sands of Santa 

Monica 



45 



CINEMA SHOTS FROM COAST TO 



Right, the first woman in the 

world to decide to turn over 

a new leaf: Eve, as portrayed 

by Sally Rand 




46 






OAST AND BACK TO COAST AQAIN 




Jot that June Collyer, 
bove, ever slights her ap- 
earance. But when she 
ag her picture taken, she 
eems to like to get par- 
ticularly dolled up 



Down in front!" is likely to be 
eard in more than one theater 
r Virginia Bradford wears this 
own when she appears in 
"Craig's Wife" 



Chester Conklin may prefer 
his spectacles plain, but he 
likes himself horn-rimmed. 
He had this photograph 
taken just to prove that at 
least one person in the 
world takes off hie hat to 
bis playing 




Wouldn't you call Marcelle 
Edwards — at the left — a neat 
little baggage? Yon should, 
for she's just come back from 
the studio costuming depart- 
ment wearing wardrobe trunks 



A Laurel! who makes other 
beauties of the. screen look — 
and none too confidently — to 
their own is Jane, in the 
picture below 




Two Minniecure 
girls: Barbara Kent 
and Dorothy Gulliver 
making Minnie the 
elephant look her 
daintiest for the open- 
ing of the social sea- 
son at a Hollywood 
zoo 




Chuling stars— and four at once! 
They are, beginning at the bottom, 
\gne8 Frariey, Myma Loy, Audrey 
■ Ferris and Rin-Tin-Tin 



V 



47 



By HELEN LOUISE WALKER 



oin 







Symptom N-47 of Going Hollywood is 

for all good boys and girls to come to 

the aid of their party — sometimeij 

thirst-aid 



AL JOLSON was approached on the set at Warner's 
by a newspaper man who asked him to give him a 
^ "quote" for a story he was doing. 

"\\ hat is the story about?" inquired Mr. Jolson. 

"Just a general article. I'll tell you the idea and quote 
your comment." 

"No, indeed!" quoth Al, with mock indignation. "If 
the story isn't all about me, I won't play !" 

The newspaper man, whose sense of humor, perhaps, 
was not quite equal to the Jolson brand of jocularity, 
walked away in some annoyajice. 

Jolson called after him, "You may quote me, if you 
like, as saying I've 'gone Hollywood'!" 

Friends fluttered up to him, protesting, "A\. you've said 
the wrong thing ! You don't want to be quoted as say- 
ing that." 

Seeing the real concern in their faces. Jolson called 
after the reporter, "Say! Come on back! I'll talk. 
Don't quote me on that." 

The newspaj^er man, really irked by what he doubtless 
considered a rebufif, tossed over his shoulder a laconic, 
"Sorry! You've committed yourself!" and walked on, 
amid the consternation of press agents. 

Now the press agents doubtless exaggerated the signifi- 
cance of the remark. Nevertheless, it is true that the 
highest compliment you can pay anyone in the film colony 
is to say that he is "not at all Hollywood." And. by the 
same token, more contemjH is ])robably expressed by the 
phrase, "He's gone Hollywood !" or "He is very Holly- 
wood !" than by any other comment that can be made. 

It is a little bit like the Pittsburgh millionaires of 
twenty or thirty years ago. But it is more complicated. 
Those ]3eople had acquired money abruj^tly and with it 
ideas of grandeur. This made them very amusing to the 

48 



folks back East who had had their wealth for a genera- 
tion or so and had got used to it. 

Symptoms of Hollywoodness 

Dux the Hollywood type differs from the steel magnates 
•^ and their wives and daughters in that it has other 
things besides sudden affluence to influence it. 

We are concerned with Art. 

We have Burning Messages and things like that. 

We have Temperament and Aspirations to Count for 
SoiTiething. 

And we have Sensibilities ! 

You can see for yourself that the thing is very in- 
volved. 

In the first place, if one is an artist, then all the story 
books say that one must be bohemian. This seems to 
mean somewhat loose as to morals and very, very impul- 
sive and uninhibited. 

But there is a catch to that ! Reports of one's 
bohemianism must not get into the public prints. The 
mass of the American public clings to its Puritan ideals 
of conduct and finds difficulty in adjusting itself to the 
free-and-easy ways of us artists. 

So the poor actor tries desperately to seem bohemian 
among his friends and to seem pure and noble, an up- 
standing example of young manhood or what-not — in the 
newspapers. 

In other words, he strives to present a Boy Scout ex- 
terior to the fans and remain just a little Pagan to his 
intimates. 

Although this thing of going Hollywood takes many 
forms and strikes as often in high places as low, there 
are some few characteristics common to all its victims. " 

It is very Hollywood, for instance, to talk always in the 




oily wood 



The Causes, Symptoms and Effects 

of a Disorder Peculiar to the Movie Colony 



j. resent tense. Probably because scripts read that way and 
conversation upon sets is always in that mode. 

Also it is tyjjical Hollywood-ese to speak of inipcjrtant 
people by their first names and to tell in loud, important 
tones how you told Joe Schenck or Jesse Lasky w'here he 
was wrong! 

The Cess Men 

C NATCH ES of conversation heard in cafes and about the 
*^ lots go like this, "And I say to Cecil De Mille, I say. 
Look here. Cess! You take my advice. I'll tell you what 
it is! It's like this.' And Cess, he says, 'Bob, you're 
right! 1 never thought of that!'" 

Sartorial elegance to the »th degree is a symptom. 
Warner Richmond says that when he left New York, 
men's shirt collars showed a little elongation of the points. 
When he arrived in Hollywood, he observed that the 
jxjints of collars rested somewhere about the waistline. 

"That." says Warner, "is Hollywood!" 

Xick Grinde. the director, says that the typical Holly- 
woodian is a "guy who flips a coin to decide whether he 
wears evening clothes or golf knickers to an opening!" 

Idiosyncrasies of attire are a part of it. Someone told 
me. and swore it was the truth, that a prominent director 
had a dinner suit made with trousers cut like the golf 
knickers to which he is addicted ! 

Eddie Sturgis cites as an example of going Hollywood, 
a certain director whi) borrowed his car and used it for 
months while Eddie was in the East. He came up in the 



Symptom C-19 of 
Going Holly- 
wood is to go in 
for sartorial rork- 
taib, to mix cloth- 
i n g with the 
same recklessness 
as one mixes 
drinks 



world a bit during Eildie's absence and upon his return, 
atfected not to remember him. 

"When I spoke to him," rejwrts Eddie, "he came back 
with 'Hello, Frank !' A bird I had known for years I 
Hollywood had got him !" 

Ordinarily it is the hangers-on, the eternally hopeful 
crew of youngsters who are trying to break into pictures 
who are dubbed Hollywood with such contempt by those 
who have more or less arrived. 

They are the imitators, the grand bluffers, who try to 
apj)ear tremendously prosperous on a shoe-string. 

The Hollywood idea of a i)arty. is as typical and pecu- 
liar to Hollywood as any other term. 

What a Party Means 

A NVWHERE else in the world a party is a gathering of 
■** people of similar tastes, who enjoy each other's 
company, for the purj)ose of doing together the things 
they enjoy. Whether it be a chicken supper, given by the 
Ladies' Aid in the church basement, or a group of 
debutantes who gather to play bridge for higher stakes 
than they can afford. 

But in Hollywood a party is a specific thing. The 
word implies Bohemianism rampant. It may spring up 
siX)ntaneously or it may be planned. Mostly they just 
happen. They are likely to go from house to cafe and 
back to house again — a different house, in all likelihood, 
from the one where the party had its birth. Surprising 
{^Continued on page 83) 




49 



Sweetheart 







Neil Smith 



Dolores del Rio is not hurt; she is just terribly, terribly angry. All of which is 

part of her part as Rascha, the gypsy girl in "Revenge," when she finds the man she 

loves sharpening pencils with her Sunday dagger 



50 







ISter and 




ISSUS 



Impressions of Mr. Ginsberg, the Manassa 
Mauler, and of His Wife, Estelle Dempsey 



THEY are a National Institution, 
like the Follies and Niagara Falls. 
They rank with Lindbergh and the 
new Ford car as favorite American products. No matter 
where they go, crowds gather and people point. And The 
Dempseys grin and bear it. 

Household words, they have no more private life than 
the Prince of Wales or the Queen of Roumania. They 
were born to fame; they couldn't escape it if they tried. 
And today they are more popular than ever. This, de- 
spite the fact that Mr. Dempsey has definitely announced 
his retirement from fisticuffs and Mrs. Dempsey has 
made regrettably few films of late. It's not so much 
achievement, then, as high-powered personality that makes 
tliese two so celebrated. They have all the qualities that 
the Great American Public demands of its idols — the 
ability to get themselves on the front page and the humil- 
ity to wonder why. 



By Carol Johnston 



The minute they close the gate of 
their comfortable Hollywood home be- 
hind them they become public property. 
In New York their every move is chronicled. The hotel 
on Park Avenue, where they stop, may be harboring — 
as it was last time — a prince and princess, a lord and lady 
or two, assorted diplomats, aviators and screen stars — 
but it was The Dempseys who received the attention. 
They were deluged with distinguished guests, costly gifts, 
phone calls, telegrams, and vaudeville, movie and stage 
offers. And they managed to remain, in the midst of all 
the adulation, simply Mister and Missus — a De Luxe edi- 
tion, but still Mr. and Mrs. This king of the ring and 
his movie queen have never taken themselves seriously, 
and they don't intend to begin. Now that they can afford 
all the caviar they want, they still prefer corned beef and 
cabbage. Their combined earnings have brought them 
{Continued on page 87) 



51 



Laurence Reid 

Reviews 

THE New Photoplays 






THE Russian Revolution 
turns out to.be a topsy- 
turvy, harum-scarum, 
hit-and-miss affair as re- 
vealed in "The Red Dance." 
Those responsible evidently 
thought it spelled box-office to 
cram it full of extreme sacri- 
fice, extreme adventure, ex- 
treme unction, extreme plunder 
and all of • the other elements 
which are generally depicted as 
the voice of a people in rebellion 
The mistakes are in the story, for the 
direction shows first-rate technical 
qualities — even if the action doesn't build 
much sequence. 

The trouble is too much picture. It could have 
gone on into next week. After the characters are planted 
(and none important are forgotten except Kerensky, who, 
strangely, has to give way to figures bearing a strong like- 
ness to Trotzky and Rasputin), the scenes shift dizzy- 
like from aristocratic circles to those representing the 
peasantry. And before you know it, you are in the throes 
of the Revolution, depicted here as the Mad Rush. 

The detail is very good, especially in those scenes of 
peasant life. And Hollywood surely has enough Russian 
uniforms to go around. Pictorially it is satisfying, but as 
a genuine treatment of the Revolution it is away oflF the 
mark. There's a romance typically movieish which has 
to do with a Grand Duke -falling in love with a lowly 
peasant and the latter saving his life at the climax. The 
excursion into the arbor of love gives Dolores del Rio a 
chance to look picturesque and act with a fair amount of 
feeling. As for Charles Farrell, he wears his uniform 
well and his quick stride is all to the military. Ivan 
Linow, providing comic relief, fails to arouse much mirth 
after a brief moment or two. He starts out as a wolf 
and ends up a lambkin. 



There's no real motivation here. The Russia | 
Revolution has yet to be picturized in Hollywoo( i 
I would recommend it as a task for the RussianJ 
or Germans. "The End of St. Petersburg" caplB.^ 
tured the real thing without love interest. ' 

Blood Will Tell 

'T'he dual role bobs up to give Richard Barthel 
•*■ mess an opportunity to differentiate 
brothers — and he performs very well in 
Wheel of Chance," a picture which shapes up a 
likely entertainment. The idea is an old one 
but it is developed compactly and with ai 
eye on building suspense. 
Barthelmess is discovered as twins 
one good, the other a disciple of evil 
Having been separated in infanc)' 
in Russia, the good one is rearer 
by his thrifty parents in America 
while the other becomes a gang- 
ster. It happens . that the bad 
boy is tried for murder and 
his prosecutor is his brother. 
You've seen that situation be- 
fore, haven't you? The psychic 
understanding of twins is ex- 
ploited when the sponsor of the 
law refuses to continue the case. 
And the love appeal has its in- 
nings. And there you are. 
The court-room scene is the high- 
light in a picture which doesn't con- 
tain very many. Yet it is well con- 



At top is Richard Barthelmess playing a itn] 
role in his newest picture, "The '^heel .1 
Chance." In the oval are Richard Arlen ird 
Clara Bow, whose picture, "Ladies of the Mob," is a (:of, J 
melodrama. Below, Raquel Torres as a dusky South Sea 
maid shows her interest in Monte Blue in "White Shadow 5 
of the South Seas" 




52 






THIS iMONTH 



(rltic 



>triicted and contains a fair amount of human 
interest. 

Gangster Love 

TRUST a gangster's girl to stick hy him — and 
thus point a lesson in loyalty to her more 
strait-laced sisters. This is the idea hehind 
, Clara Bow's newest opus, "Ladies of the Mob," 
which is not only a neat melodrama with the 
stamp of reality upon it, but which also gives 
Clara Bow a chance to demonstrate emotions 
away from Itty circles. 

The picture serves a moral in its theme 
of regeneration. The girl's father 
burned in the chair, and to save her 
boy friend from following her old 
man she deliberately plugs him so 
that he will give up the "gat" and 
reform. It is charged with fine 
atmosphere and speaks right out 
with action that carries a snaj) 
to it. 

What particularly pleased me 
was the different note sug- 
gested in the process of regen- 
erating a crook. Most film 
crooks reform by meeting a 
girl who doesn't talk their lan- 
guage. Here is one whose frail 
is a product of his own under- 
world. Richard .Xrlen is not up 
to the Bow in vitalizing the role. 
His personality is cut from too re 
fined a pattern. 



At top. John Gilbert ha» an interest 

in "The Cossacks." am] Renee .\Horee 

the romantir appeal. In the oval Cnnra 

and Renee Adoree rlimb to a mountain-top to talk things over 

in "The Michigan Kid." Below, Charles Farrell demonstrates 

pasfion a la Grand Duke for Dolores del Rio in **The Red 



The Red Dance The Cossacks 

Ladies of the Mob The '^Tieel of Chance 

The Michigan Kid 
White Shadows of the South Seas 






But the Cocoanuts Fall 

In >o far as collecting an as- 
*■ sortment of l)eautiful shots 
which show how life is lived 
South Seaward, the picture 
version of Frederick O'Brien's 
lxx)k. "White Shadows of the 
South Seas." is not so hot. 
Much license has l^een taken 
with the original — and much 
more could have been taken that 
might have i:>epi>ed up this jiroduc- 
tion. For instance, they could have 
jtaged a lively fight among the tribes- 
men — with the fair native as the pawn. 
The white man would then ha\e an opixirtunity 
to prove his superiority. While this is an ancient 
idea, it would have livened uj) the proceedings. As it is. 
one waits in vain for something to hapj^en. 

It is nothing but a travelogue of the maimers and cus- 
toms of the South Seas, with Monte Blue playing a derelict 
who is made the white god when he ajjplies first-aid treat- 
ment to the brown-skinned poobah's little boy. This not 
only wins him the undying gratitude of the father, but 
the' love of the kid's sister as well. And that's all there is 
to it. The jiicture was actually .shot in the South Seas 
and the native life is interesting. But the story is very 
weak — a poor prop to hang soine striking scenes over. 
The hula dances must have been trimmed. 

Fast Work on Hollywood's Steppes 

OHN Gilbert has a good number in "The Cossacks," 
and it seems like old times to find him reunited to 
Renee Adoree, who was his sweetheart in "Tlie Big 
Parade." Not so much fuss has been made over this con- 
tribution to celluloid art, but it is easily a better bet at any 
(0"!/ni''.-.' " '■ f^i'-or 91 "> 

53 



J 




With Him 



Gary Cooper has one, no doubt. Her first 
name being Fay. Here they are on location 
together, while acting in "The First Kiss." 
Was it this, we wonder, that suggested their 
being pictured against the background of a 
fleet of little smacks? 



54 




Ham Among the Yeggs 



Lucien Prival Lived a Gangster's Life 
In Order To Be Able To Portray It 

By Murray Irwin 



I 




If you don't believe that Lucien is blase, look at him here, in spite 
of the presence of an artist's model, having to hover over a charcoal 

stove 



T'S not so difficult to 
be a discoverer. Af- 
ter all, Chris, or 
Americus, or Eric the 
Red, or whoever it was 
that did the job of dis- 
covering America, 
couldn't very well miss 
it. The boys were 
simply out for a boat- 
ride and got to sailing 
along, when all of a 
sudden some one said : 
"There's America!" 
And sure enough, it 
was. 

Take Balboa, if that 
was <the gentleman's 
name. What a time 
he'd have had not 
bumping into the Pa- 
cific. And Hendrik 
Hudson. My good- 
ness, why should he 

sail up Coney Island creek or the fragrant Gowanus when 
the Hudson was right there handy ? I ask you. 

If you saw a flock, herd, bevy or gathering of goats 
surrounding a slim gazelle, or a stately elk (the kind with 
teeth in mouth instead of on watch-charm), you wouldn't 
get high-hat because you knew the deer wasn't a nanny, 
would you? 

All of which leads up to this: it's a bit childish for a 
lot of these fellows to claim superior perspicacity because 
they discover a real actor mixed up with the main prod- 
uct of John W. Meatpacker and Company. 

Any child would know that Clara Bow is a darb — Lina 
Basquette a natural — Sue Carol quite the cat's — Alice 
White a wow. At least, any child who wouldn't might 
just as well look forward to spending an uneventful 
middle life among the feeble-minded. 

Which brings us to Lucien Prival. 

Not that Lucien is feeble-minded. What I mean is 
that he is so tattooed with film genius that they just 
couldn't rniss him. Right now Lucien is atop the world. 
One of those most desirable contracts. You'll see him in 
United Artists photoplays. But I knew him when. 
Here's how it was. 

I was editing a picture. It was a bad picture. The job 
of an editor, the world over, is to cut out the bad and 
leave in the good. When I got through with this one, 
there was nothing left but Lucien Prival. Of course, I 
had to go and splice in a few close-ups of the stars and 
a couple of love sequences. But the one and only thing 
worth-while in that drama of the underworld was the 
villainous-looking gangman whom I came to know as 
Lucien Prival. He didn't even have screen credit. He 
didn't need it. Except for him there was no picture. 

I remember I christened the character "The Portuguee." 



Spanish, 

producer 

what a 



I thought that was 
what it looked like. 
But finally Lucien 
emerged as 
because the 
didn't know 
Portuguee might be. or 
was, or is. 

Later I worked on 
another opery, and 
there again was "The 
Portuguee," slick, slim 
and sinister, in a for- 
eign uniform with 
rape and ruin staring 
from his monocled eye. 
Again he stole the pic- 
ture. The boy was 
another von Stroheim. 
You couldn't miss him. 
His portrayal was bril- 
liant and colorful as a 
many-sided prism 
scintillating in the 
clear, bright rays of California sunlight. 

It was Xew York. I didn't know his name. He lived a 
dozen blocks from me. But I met him first in Hollywood. 
On the boulevard. To coin a phrase, he was the glass of 
fashion and the mold of form. Totally in character. The 
character of the Stroheimesque figure of the war drama. 
The monocle flashed. The head was closely cropped. 
The erect, alert figure was tight-girt in well-tailored 
clothes. He wore spats and a cane. And the women 
turned to look. The air of prosperity bespoke a long- 
term contract. I was right. I was a discoverer. Only 
I wouldn't cash in on him. United Artists would. 

Prival is a New Yorker born — but not br'ed. He is of 
French-German parentage. Apparently, the German part 
predominates. For when he was a kid of twelve they sent 
him to the Fatherland to be educated. He is quite Conti- 
nental in manner. But not in speech. 

He was in Berlin when the war broke out. And when 
America entered it. He witnessed the departure of many 
trig youngsters such as he portrays so well. And saw 
them come back — in pieces. He heard the hochs echo 
through the leafy lengths of Unter den Linden. And 
later the rat-tat-tat of machine-guns in the hands of the 
revolutionists. He remembers the day when the news of 
the mutiny at Kiel capped the dynamite of unrest which 
came when there was no bread. He recalls the food boot- 
leggers, who risked instant death under martial law to 
reap the rewards of profiteering in the very necessities of 
life. Spent bullets dropped at his feet, or mushroomed 
against the wall behind him, as he scurried to the theater 
for the evening's performance, or to the great German 
film studios beyond the city. For, yes, Prival had drifted 
quite naturally to the stage and to pictures. 
(Continued on page 77) 



56 



ut Where the We] 



Where Women Are 
And Men Are 



Brent on keeping fit, Evelyn is. And if you don*| 
think she's succeeding, remember that the medicine 
ball is as heavy as some of the roles she's enacted 
recently. And that she handles it quite us easilj 



She may cross her feet and her arms, may 

Sally. But never her fingers, what with the 

luck of the Irish being what it is and her 

last name being O'lNeil 




Don Gilluni 



Doris Dawson — on the ball — wins 
hands-down. Or up, for that matter. 
And she likes the seat she's chosen. 
There's nothing like it, she says, for 
sphere comfort 



Time, money, Lindbergh, et al. cease 
to monopolize the category of things 
reputed swift in flight. Yola D'Avril 
springs into mid-air nhiiost as easily 
as she has i<prung into prominence 



■}\'' 



Begins 

Swimmin' 
Uneasy 



The sunshine and her smile — they seem 
here, beside the pool — to be rivals for 
brilliance. But what rhanre has the first 
against the serond when the smile is 
Norma Shearer' 




R. H. Louise 



If it doesn't give >ou the impression that 
we have a cold in the head, let us point out 
quite unnecessarily that Audrey Ferris, 
under the umbrella, looks very dice, indeed 




is Time Rotting Our Film Records? 

To Our Grandchildren, Screen Stars of Today 
May Be As Invisible As the Face of Cleopatra 



A HUNDRED years from 
now," Rod La Rocque said 
tragically, "if people look at our pictures at ail, it 
will be as curiosities. Our names will be forgotten. 

They -will laugh at us " 

A hundred years from now, what 
will be left of the pictures we make 
today? Pictures that each one cost 
more than the building of a pyra- 
mid ! How many times we hear 
sentimentalists bewail the fact that 
the movies had not been invented 
centuries ago, so that we might look 
on the fabled beauties of Helen 
with our own eyes (and say with 
a sniff "We-ll! I don't see any- 
thing to make such a fuss about in 
her") or watch Cleopatra gliding 
down the Nile on her flower-decked 
barge in some B. C. newsreel. 

But even if there had been a 
camera grinding when the Wooden 
Horse moved on the walls of Troy, 
even if Anthony had wooed Cleo- 
patra in a screen close-up, these 
things would probably have dis- 
appeared long ago ; for the fame of 
the movies is a chemical fame. The 
exotic loveliness of a Garbo, the ro- 
mantic passion of a Valentino are 
held caught in a film of jelly 
smeared on a substance composed 
of guncotton and camphor, ether 
and alcohol. This is celluloid. 



Forever and a Day: the eternal ele- 
ment in the scene being the vault, 
wherein films are sealed for ages to 
come; and the Day being Marceline. 
The vault is -in the Smithsonian In- 
stitute, shown above 



By LYNN FAIRFIELD 



Air is the Enemy of Film 




THE action of air on celluloid is slowly but surely to 
destroy it. Heat dries up film, makes it brittle, 

humidity dissolves it, light 
turns it brown. Even the pic- 
tures made ten years ago show 
plainly the devastating effect 
of time. 

No art in the history of the 
world has ever been so tem- 
porary as that of the motion 
pictures. Where the an- 
cients immortalized their 
heroes and heroines in marble, 
we capture ours oti a two-inch 
strip of film. Where earlier 
craftsmen kept a record of 
their times on canvas or tap- 
estry, we entrust the chroni- 
cling of our day to the news 
camera, with what result? 

The screen idols of twenty 
years ago — Arthur Johnson, 
Mary Fuller, Florence Tur- 
ner — names as beloved as 
Pickford and Fairbanks today, 
have completely disappeared. 
Not a scrap of film with their 
faces on it remains. In those 
days no .one thought of the 
movies as anything but a tem- 
porary device for amusement 
As soon as a picture was out 
of date, the film was destroyed. 
It is only comparatively re- 
cently that studios have even 
considered preserving some 
of their best pictures for fu- 
ture generations. 

{Continued on page 82) 



58 








mhracelets 



When even handcufTing him won't 
keep a man from making love, 
mothers would best have their 
daughters come in from the porch. 
And it won't, as Johnny Hines 
proves, when there's an attraction 
nearby like Louise Lorraine 



59 





Autrey 

Underworldly wise: Don Terry is — or soon will be, for 
he has been chosen by Charles Francis Coe, author of 
"Me, Gangster," to play the title role upon the screen 



Freudch 



Is it necessary that the one to enact the part of "The 

Girl on the j^arge," be tow headed? Apparently not, for 

Sally O'Neill has won the assignment 



i^ooking Them Over 

Close-Ups From the West Coast 



IT was at the opening of "Fazil," the 
vivid premiere of the gaudy picture in 
which Charlie Farrell plays such hot 
love scenes with Greta Nissen : 

Intermission found Charlie proudly 
strolling around in the crowd with Vir- 
ginia Valli on his arm. "Nice work, 
Charlie," called lovely ladies in corsages 
and handsome gentlemen with gardenias 
on the lapel. "Yes," yelled one wise- 
cracker, "but aren't you jealous of those 
love scenes with Greta, Virginia?" 

Virginia smiled her inscrutable smile. 
"Why?" she inquired calmly, "I taught 
him how." 

Lay Off the Max Appeal 

]V/Iarilyx Miller once wired Ben 

■*• Lyon, after she had heard that he 
was running around Hollywood with 
little Marian Nixon, "Nixon liking any 
one but me." 

Wonder what she'll say when she finds 
out that Ben is escorting Lupe Velez to the Montmartre 
for lunch? 

Caramba ! 1 

. Or Lon Chaney "The Spider 

'T'he latest Boulevard laugh is that Carl Laemmle has 

purchased the stage play, "My Relations." If young 

Carl Laemmle, Jr., writes the script, and Edward 

Laemmle directs it, under the supervision of Ernest 

60 




The Loy of living, symbo- 
lized necessarily and most ap- 
propriately by none other 
than the lovely Myrna herself 



Laemmle, you can see where the snicker 
will come in. 

Wonder if Gloria Swanson will buy 
"The Queen's Husband" for Hank? Or 
maybe somebody jA-ill star Patsy Ruth 
Miller in "Coquette." 

Now if Joseph Schenck would only 
put the Talmadges in "The Royal Fam- 
ily" — what could be more appropriate? 

Talkie Talk 
VY/hether or not you like the talkie 
* movies, they are going to benefit the 
screen in one way. The various "phones" 
will be the medium by which several bril- 
liant plays that depend entirely on clever 
lines can reach the screen. 

Clarence Brown is interested in "Paris 
Bound" as a speakie. Or so they say. 
And M. G. M. is all set to put the 
spoken word in the mouth of "Mary 
Dugan." 



One Noiseless Divorce 
\Tever was a divorce secured with less sensational or 
•^ ^ harmful publicity than Dolores del Rio's. Where 
other stars are forced into headlines, Dolores was care- 
fully engineered into inconspicuous paragraphs. Up un- 
til the final decree Dolores even denied that proceedings 
were in action. In this way, an alert press-agent nullified 
any possibility of Dolores' being tied up in a divorce of 
several months previous when Edwin Carewe separated 








Freiilich 

Gi'und Rapids might see an Dncommon amount of beauty 

in this lapesitried chair. But ao long as it obstructs a 

complete view of Barbara Kent, we find it nothing legs 

than a blemish in the scheme of things 



Spurr 
If there are any girls among the bandits in Jack Pick- 
ford's next picture, "Gang War"; and if winning Jack 
is what all the shootin's for, we'll guarantee that the 
battle will violate all the pure-feud laws 



Out Hollywood Way 



By Dorothy Manners 



from his wife and left his two infant 
children. 

Everyone is expecting to see Mr. 
Carewe and Miss del Rio wed as soon 
as possible after the interlocutory year. 

Mary Goes Pola 
Caw some marvelous new pictures of- 
*^ Mary Pickford taken by Edwin 
Bower Hesser — Mary, as a brunette ; 
Mary, as a Spanish vamp ; Mary, as an 
alluring-looking lady in a w'hite wig. 
Why, Mary ! 

Will Sue Sue? 
Cue Carol has offered Douglas Mac- 
*^ Lean $25,000 for her contract. This 
contract was signed when Sue first 
started out in pictures and represents an 
original investment of $3,900 on Mac- 
Lean's part. A profit of $20,000 on any 
gamble isn't bad returns. But Doug says 
"Xo" and is asking the producers 
$150,000 for the piece of paper he holds 
on Sue's services. Mr. Mac Lean's argument is that if he 
had gambled on a race horse, say, he is entitled to all the 
profit he can make. 

As Sue isn't a race horse, but just a little kid who is 
doing awfully well in the movies, a lot of people don't 
think that is very cricket of Doug. 

If a producer bought that $150,000 contract, it would 
mean that he could never aflford to pay Sue over a few 




hundred a week and realize any profit 
on his investment. Which makes it 
tough on the little Carol. 

No one would be very much surprised 
if this little tangle wasn't straightened out 
in court. 



A^ 



Friends of the Fairweather 
sort ordinarily rate little. But 
if we had just one like Helen, 
we'd consider ourselves Incky 



A Bird of a Place, Too 
LL that is left of the exclusive and ex- 
pensive "Russian Eagle" Cafe is a 
rag, a bone and a hank of draperies. This 
favorite rendezvous of the movie crowd 
was burned down. Unexpected compli- 
cations set in, and endangered the lives of 
many of the stars, when the stove in the 
kitchen of the restaurant exploded and 
blew the top off the building. 

Charlie Chaplin, Gloria Swanson, and 
Jack Dempsey and Estelle Taylor were 
among those who escaped uninjured. 



What Price Hair-Feex? 

LUPE Velez is a child of impulse. Some 
' one has made that observation be- 
fore, I believe, but it was never more clearly demon- 
strated than one evening recently at the Cocoanut Grove. 
Lupe was seated at the next table to Mary Nolan, the 
former Imogene Wilson. Lupe had never met the girl 
who used to be the toast of Broadway, but her admira- 
tion for Mary's blonde beauty was ardent. 

"Oh, you are so bee-u-ti-fol," Lupe exclaimed after 
(Continued on page 88) 

61 




Fryer Photos 



The Rain of Terror 

Two spectacular scenes from "Noah's Ark," an epic of the epoch when everybody 
in the world, given half a chance, would have voted dry. In the upper picture 
George O'Brien is wandering around, trying to remember where he left his umbrella 



62 



J 




Cinderella 



Eva Von Beme*s Hejira to 
Hollywood Argues that Fine 
Parts Are More than Coronets 

By Mary Willis 



IF you can sing Ach Du Liebe Augustine, 
speak a few words of high school French, make 
Indian sign language, do nib-ups and ISO's, you 
will gather that : 

Eva Von Berne prefers the company of men 
to that of women. 

She was eighteen July ninth. 

She was born in Serbia, but has lived most of 
her life in Austria. 

She does not like New York, but understands 
that Hollywood is "ach, so beau-tee- ful." 

She hopes they will give her sad roles like 
Greta Garbo's. 

But if you have none of the accomplishments men- 
tioned in paragrajih one, you will notice only a bewildered 
little girl with a strain of sophistication in her face and 
a coronet modestly embossed on her luggage. The sophis- 
tication and the coronet will put her across in Hollywood. 

She should have arrived in a pumj^kin carriage instead 
of on the George Washington. You've guessed it. She's 
another one of those CindercHa gals. The story goes 
like this : Norma Shearer and Irving G. Thallierg were 
honeymooning in Europe. Miss Shearer saw the picture 
of a beautiful girl in a society magazine in Vienna. She 
called her husband's attention to the picture. Thalberg 
looked her up, gave her a screen test and a long-term 
contract. Eva (she was Von Plentzner then, her name 
being changed to Von Berne the day she arrived in New 
York) had never been on the stage or screen. I rather 
imagine that her |)eople have more family background 
than money. Anyhow, Eva signed the contract and came 
10 America all alone to beard the Hollywood lion in his 
mahogany-paneled office. 

Her Spinal Gowns 

I SAW her in her suite at her New York hotel. She 
was dressed like a child, in a little green jersey dress 
and a Buster Brown tie. She explained with the use 
of both hands and couple of feet that it was her mother's 
idea to make her look like a baby, but when she got to 
Hollywood she would wear dresses like this (the gesture 
being done with the right hand placed about at the base 
of the spine). This attitude will help. 

You scream at her, of course, and then you dig down 
into your subconsciousness for the remains of the fourth 
lesson in the French grammar which has something to 




Apeda 



do with your mother's pen on the table, and there is no 
necessity for talking about Eva's mother's pen. She looks 
bewildered at your screams and your very bad French, 
and her amazing eyebrows (she has the brows of an 
actress) pucker into a bewildered frown and she says, 
Nein or Je ne comprends pas, for although German is 
her native tongue, she does speak French. 

Trying as her arrival was (surrounded by dozens of 
strange faces, being rushed from ship to ferry to taxi- 
cab to hotel), she took it all with an amazing display of 
poise. I had brushed off my best shoulder expecting 
the child to weep, but Eva isn't the weeping sort. For 
all her youth, she has enough sophistication to carry her 
over the situation and she finally makes you understand 
that it is all like a dream, and that even if they send hcv 
back in six months it will have been worth while. 

She has a beautiful face (they'll take off five pounds 
of her buxom Continental figure in Hollywood) and re- 
minds you of Greta Garbo, who is, by the way, her fa- 
vorite .feminine star. John Gilbert is her choice among 
the men, and that keeps it all in the family. 

The one question that was in the minds of everyone 
who met her was, "Will she be a bet on the screen?" 
Other questions followed, "Will she become tempera- 
mental ?" "Can she act ?" And they looked at her from 
every angle, scrutinizing her hair, her face, her figure and 
her clothes. She met the scrutiny calmly and seemed to 
have no fear of her future in Hollywood. 
{Continued on page 89) 

63 




^ 



arely Able To Sit Up 



The wonder is that she is at all. For Alma Bennett has been playing vampish roles in 
Harry Langdon productions — and it's a known fact that slapstick sirens aren't handled with 

the same care as are the dramatic Delilahs 



64 



They gave me the ha-ha 
when I offered to play 

. , . but I was the life of the party after that 




THE first day of Dorothy's house party 
at her cottage on '\e shore had been a 
huge success. With .»,. afternoon of swim- 
ming, boating and golfing we were all set 
for the wonderful dinner that followed. 

"Well, folks," said Bill enthusiastically, 
as we were leaving the table, "I don't know 
how you feel, but I'm all pepped up for a 
good dance." 

"Fine!" cried Dorothy. "Dick Roberts 
has his banjo and can sure make it hum. 
Now who can play the piano?" 

Instantly the laughter and merriment ceased. 
All looked at one another foolishly. But no one 
taid a word. 

"How about you Jim. you play, don't you?" 
asked Dot. 

"Ves. I'll play 'Far. Far Aw»y,' " laughed Jim. 

"Well then, Mabel, will you help us out?" 

"Honestly. Dot. I hate to admit it. but I can't 
play A note." she answered. 

It certainly looked as if the pjarty were going flat. 
Plenty of dancers but no one to play. 

Then I Offered to Play 

"If you folks can stand it." \ offered shyly, "111 
play for you." 

The crowd, silent until now. Instantly burst out 
in laughter. 

"You may be able to play football. Jack, but 
you can't tackle a piano.' 

"Quit your kidding." cut In another. "I've 
never heard you play a note and I've known you 
all your life." 

"There isn't a bar of music in your whole make- 
up." laughed Mabel. 

.\ feeUng of embarrassment mingled with re- 
sentment came over me. But as I strode to 
the piano I couldn't help chuckling 
to myself vhen 1 thought of the 
surprise I had in store for them. 

No one ki ew what to expect. 
They thought ' was about to make 
a fool of mystlf. Some laughed. 
Others watched me wide-eyed. 

Then — I struck the first snappy 
chords of that foot-loosing fox- 
trot "St. Louis Blues." Dick was 
so dumbfounded he almost dropped 
his banjo. But in a flash he had 
picked up the rhythm and was 
strumming away like mad. 

Although they could hardly be- 
lieve their ears, the crowd w»re all 
m their feet in a jifTy. And how 
they danced I Fox-trots, waltzes — 



with rests few and 
far between. 

After a good round 
of dancing I decided 
to give them some 
real music and began 
a beautiful Indian love ^tic. 

The couples, who but a moment before had 
been dancing merrily, were now seated quietly 
about the room, entranced by that plaintive melody. 

No sooner had the last soft notes died away than 
I was surrounded by my astonished friends. Ques- 
tions were fired at me from all side*. 

"How wonderful. Jack! Why haven't you played 
for us before?" 

"How long have you been studxnng?" 

"Why have you kept it a secret all these years 
when you might have been pla>-ing for us?" 

"Who gave you lessons? He must be won- 
derful!" 



PICK 


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66 




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The Great Talkie Panic 



(Continued from page 17) 



in Hollywood, promise that all their pic- 
tures for the coming year will be made 
with Vitaphone accompaniment. Fox, the 
second big company to release sound pic- 
tures (which they have been experimenting 
with for twelve years), is more conserva- 
tive. "We are making only short subjecj^ 
with the Moznetone at present," a studio 
official announces. "It's too early to ex- 
periment with it in features." 

First National has its Firnatone, Pathe 
its Photophone, United Artists its Unatone. 
Everyone talks learnedly of the difference 
in principle, the disk device, the film repro- 
duction of sound. No one is quite ceitain 
what he is talking about. 

The disagreement over the new medium 
begins with the producers. 

"The talking motion pictures are the 
only possible future development of the 
films," says Jesse L. Lasky, "within a 
year most of our pictures will be synchro- 
nized with sound effects and dialogue." 

"It is not our purpose to rush headlong 
into sound production," shrugs Irving Thal- 
berg. • "The importance of sound in pic- 
tures is too important to permit any use 
which will hamper its full expression," adds 
Nicholas Schenck, president of Metro- 
Goldwyn. 

"We have no right to give the public 
experiments instead of finished products," 
says John McCormick. "What am I doing 
to prepare Colleen for this change? Noth- 
ing ! For picture screen personalities are 
the important things, and, up to date, few 
of the stage stars with trained voices have 
proved to have film faces. Talking pic- 
tures may be coming, and if so, we shall 
have to fall into step. But in two years 
I'm willing to wager that the public will 
be tired of them and will flock to see a 
silent movie." 

Among all the uncertainties, the fantastic 
theories and "wild rumors now flying about 
Hollywood, one thing is sure. If the 
talkies have come to stay, the entire in-i 
dustry has to be changed. Studio equip- 
ment, buildings, methods must be revolu- 
tionized. Experts in new lines will be 
needed to take the place of the present 
workers. Title writers will be replaced 
by dramatists, screen directors by stage 
directors. 

One De Mille Delighted 

' I AM afraid," says Clarence Brown, "that 
this means the end of our motion pic- 
tures which we have been building up for 
so many years. If pictures have color, 
depth and sound added to them, what will 
they be but a hybrid stage?" 

"I am delighted," says William De Mille, 
while Brother Cecil remains silent. "It 
means the beginning of a new art, which 
will have its own forms and features. It 
will be neither pictures which talk or the 
stage which can be carried in a can, but a 
great new medium of drama." 

"Silent pictures will go one road, talk- 
ing pictures another," says Murnau, "there 
will be two kinds of theater to suit two 
different tastes. But pictures as pantomine 
will always be the greater. And they will 
learn one good thing from the talkies : 
how to get along without subtitles." 

"Not all pictures will use spoken dia- 
logue, and the ones that do will only use 
it in places, not throughout," says Tay 
Garnett, the youngest director. He is now 
finishing his maiden picture for Pathe. "In 
the first movies the actors seemed to think 
that because the screen could show motion 
they had to move continually. The first 



talkies do too much talking. You 
judge anything by its beginning." 

"It means — ruin!" cries another dire 
who requests to be unnamed. "We are pJi 
ing into the hands of the theater. We 
creating a taste for spoken plays. Tl 
stock companies and road shows will, 
their turn, drive the talkies from tl 
screen. The industry has gotie 'staj 
mad.' " 

The hystisria of dissent is loudest an 
the stars themselves. 

"Eet is all foolishness," cries Pola N^ 
in the broken English that would bar 
from spoken pictures. "Eet is a fad,J 
curiosity. I do not think of it at 
Bah !" 

"It's nonsense to claim that talking pi 
tures will drive any star from the scree 
scoffs Conrad Nagel, first hero of a tall 
"the movie camera can make people 
casts in their eyes and crooked noses loci 
well. Why shouldn't the sound recordt^ 
be able to do as much for voices?" 

"Talking pictures? Splendid!" boon 
John Gilbert. "Talking pictures — terribh 
cries another star in a foreign accent. 

Musicians May Protest 

A HUNDRED difficulties confront the n« 
■^ sound pictures at the very start. Wha 
about the contracts of the players whicl 
contain no clause about using their voices 
Will the musicians' union permit the Phila 
delphia Symphony on a movietone devic 
to take the place of ten thousand theate: 
orchestras? What about the foreign star 
with their broken English, and the manj' 
picture players whose voices are impossible' 
How can talkies in which the player; 
speak English be sold to France and Ger 
many and Japan ? 

The enthusiasts have answers for every- 
thing. Foreign stars will be taught tc 
speak their lines understandably, or they 
will have voice doubles. New contracts 
will be made for the new industry. As 
for the foreign releases — they grow almost 
incoherent with excitement. The talkies 
will make English the universal language! 
The stars will learn Esperanto ! The 
whole world will speak the same tongue I 
The talkies will bring about the Brother- 
hood of Man. 

Everyone argues at once. The talking 
movies will be too expensive to make. The 
cost of the projection-machines will pro- 
hibit them except in small theaters. The 
talking movies will cost only twelve thou- 
sand more than the silent pictures. The 
talking movies will be cheaper. They will 
slow the action down. They will save 
footage and speed the action up. Every- 
one is going to lose his job. Nobody is 
going to lose his job. They're the greatest 
thing that ever happened to the pictures. 
They're the worst. I hear. They say, 
Wait and see. They will, They won't, 
— are-aren't. 

As I write, a wild-eyed scenario writer 
rushes into the office, clutches my arm and 
gasps that he has discovered the RE.A.L 
TRUTH, the ABSOLUTE LOWDOWN 
about the talkies. They are to be just a 
step in the process of radioing the movies 
over the air into people's homes, where 
eventually they will be able to see and 
hear their favorites of the screen while 
darning the family socks and sitting in 
slippered ease. It is, it seems, just a 
gigantic conspiracy to keep people home 
evenings. 

Yes, Hollywood is having hysterics ! I 
feel rather hysterical myself. 



68 




'Now I Understand 
Why We Never Have Anything 

^ it wasyour big chance and you mver opened your mouth' 



'T^OR weeks you've been talking about 
A^ 'getting up your nerve' to go in and 
:ell Mr. Hutchins about your plan for 
narketing the new floor polish. And then 
ast night between dances when he de- 
bcrately came over to you and said, 'Well, 
3amard, I think we've got a winner in 
Jiis new floor polish,' you sort of wilted 
ip and gulped, 'Yes, I think it's all right.' 

"I could have cried — 
[ was so mad. It would 
jave been so easy for you 
B answer, 'Mr. Hutchins, 
['ve got an idea I'd like . 
:o tell you about — I've 
>cen giving a lot of study 
:o this proposition and I 
hink I've worked out a 
5lan you'd be interested in.' 

"That was your big 
bance — -your oppoitunity 
:o show him you had 
trains — and you hardly 
jpened your mouth! Now 
[ understand why you 
lever get promoted — why 
NH never have anything! 
Sfou're actually afraid of 
(TOUT own voice — you are 
Jie smartest man in that organization — but 
lo one would ever know it. You can't put 
^our ideas across — can't stand up for your 
ights — you just let them use you for a door 
liat. Here we are still living in a dingy little 
bur-room flat while all our old crowd have 
ovely homes out in the country. 

"And last night after you had gone to 
sleep I laid awake for hours and figured it all 
DUt. The only trouble with you is that you 
Save no ability to express ^yourself — to say 
right thing at the right moment. Just 
other day Alice Vaughn was telling me 



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that Jack used to be troubled the same 
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"Now. don't you think you 
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you'U just about set the world 
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I'm going to send for their free 
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together." 



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A Polyannic Pola 

(Continued from page 22) 



was sleeping some maidenly sleeps in her 
own sequestered bedchamber. Nothing 
was farther from the truth, as the rising 
curtain amazingly disclosed. The baron 
nearly had apoplexy. It is to be hoped, in 
the interests of drama, that the baroness 
swooned. At any rate, there were goings 
on. 

In an anteroom of the Paramount 
Studio the other day Lucy threw graphic 
hands in the air to describe to me her 
father's frenzies. She's a. swell actress 
because she made me see him, perfectly. 
As she cannot speak more than three 
words of English and as I cannot speak 
the letter A of the Hungarian alphabet, 
we had to rely on the Doraine gestures — 
which are plenty — and upon an interpreter 
to mediate between us. 

The Beaten Baron 

"VY/ell, the baron was beaten. Even a 
baron could see that and when, a bit 
later, the Bolsheviks uprose, the Perenyi 
family entrained for Vienna. 

Lucy, who by this time had taken unto 
herself the name of Doraine, immediately 
called upon the Sasha Film Company and 
was as immediately placed under contract. 
She was rtever an extra. She seems never 
to have hesitated in marking out her 
course. There were no ifs, ands and buts 
about it. She canvassed the field, knew 
what she wanted to do and then went and 
did it. Few, if any, obstacles were placed 
in her way. She is remarkable iii that. 
She never struggled for a place in the 
sun. The sun came right down and 
spotted her. She made her screen debut 
under the Sasha banner in "The Lady with 
Black Gloves." 

Two years and a half of the Sasha films 
and she made an agreement with the 
Emelka Corporation in Germany, she to 
finance her own pictures and the Emelka to 
release them under the percentage basis 
arrangement common in Europe. 

A year later the Lucy Doraine Film 
Corporation Pictures were being released 
by UFA of Berlin. We've all seen some 
of them. "Good and Evil," "Sodom and 
Gomorrah," "'The Queen of Sin." Conrad 
Veidt, now a Holb'woodian, was her lead- 
ing man at the time. And she had more 
than a handshaking acquaintance with 
Jannings and with Camilla Horn. 

Some . three or four years ago Mr. 
Schulberg suggested to her that she come 
across and sign with Paramount. She 
still had some time to go on her contract 
and had to refuse. Recently the offer was 
repeated. The Negri's contract was up. 
There had to be someone to fill the vacant 
place. And, this time, Lucy accepted. 
Pola passes and Lucy steps in. 

An Emotional Slugger 

Che is extravagantly brunette and looks 
*^ healthy. Her eyes arc glisteningly 
brown, her teeth flashing, her mouth 
red. Which is as it should be for a lady 
who excels in roles of sophistication and 
jungle emotions. The roles that Pola has 
played. 

She looks Continental, too. One would 
never mistake her for an American-made 
product. She wore white georgette with a 
lot of black silk fringe and pink roses. 
She smokes cigarettes embellished with the 
old-world-famous name of Lucy Doraine. 

She has been married, of course. To 
Michael Cortes, the director, now mega- 
phoning on "Noah's Ark" for Warner 
Brothers. And she says that she will never 



marry again. Never. She rolled her eyeijl 
and threw up her hands at the mer(|| 
thought. But she did protest too much| 
She'll marry again or something. She'!j| 
just the type. All that brunette emotional- 
ism and verve will never linger long iril 
celibate solitude. She's, the kind merj 
marry. 

I tried my darndest to get her to say 
that she was disappointed in this fair lanci 
of ours. All of the foreigners who have 
come over here have gooed and gaaed 
about everything and everyone. I hopedt 
for better things from Miss Doraine.il 
Merely a spray of acid would have helped.' 
I even insisted that she had been disap- 
pointed if not disillusioned. No luck. She 
said "Ooof! Ooof!" and "Nuuu! Nunu!" 
Vehemently. I couldn't pretend to mis- 
understand. Through gestures and inter- 
pretation I was informed, to my sorrow, 
that New York was of a marvellousnesi 
barring descriptio;i. I was told that Lucy 
had stood in the very center of the pulsing 
arteries of Broadway, had stood there, 
quite still, mesmerized, looking — looking — 
at the lights, the people, the theaters — 
Broadway! I averted my eyes but there 
persisted an image of Lucy, resembling a 
little girl from the Hungarian provinces 
seeing New York for the first time. That 
was the image she wanted me to see and 
.1 saw it. More good acting, you perceive. 
Because Lucy doesn't resemble a little girl 
from the Hungarian provinces at all — or 
any other province, for the matter of that^ 

The shops, the theaters, Mister Roxy's 
theater in particular, were all super-super. 
Lucy inhaled and exhaled prodigiously as 
she told about them. And the American 
men — I'd hoped for a slam there — but no — 
all so kindly, so courteous, so gallant, so 
very good to look upon. It came to me 
that MiSs Doraine trembled a bit on her 
anti-matrimonial platform when she talked 
of our 100 per cent. Americans. 

And the American girls — ooo, la, la! 
So beautiful, each and every one of them. 
So charmingly dressed, with such a t.istc 
to everything. 

I was even assured that an extra girl in 
Hollywood, hanging on the fringes of a 
casting director's office would stand a 
chance of stardom in Europe. So superior 
is she in general get-up, savoir faire, etc., 
to the foreign girls of equal standing. 
Lucy Doraine may well be responsible for 
a general egress of extras. 

I still insisted that there must have been 
some disappointment. Just a teeny, lectle 
one, in Heaven's name. Come, come, I 
thought— ^and said — no one is so completely 
pollyannic. Everyone has some speck of 
dirt to sling. Well, yes, one disappoint- 
ment — the garbage pails on the side-streets 
of New York! The side-streets that 
branch off from the Hotel Astor to which 
Miss Doraine loaned her exotic presence. 
In Europe the garbage pails remain in 
public view no longer than nine o'clock. 
But on the side streets of New York — 
ach, ach! Still, as I was forced to agree, 
that is a comparatively small matter. 

As for Hollywood — Heaven is the syno- 
nym. There are no words in Miss 
Doraine's Hungarian vocabulary to tell 
what she thinks of Hollywood. She will 
have to play it for me on the piano — she 
had imagined it but her imagination fell 
short. Such sunshine, such air, such 
mountains and sea, such beautiful mens 
and beautiful womens. 

And the stars. Chaplin and Novarro. 
Laura La Plante and Norma Talmadge. 
Favorites over there. Incomparable over 
here. 



F:: 

T 



70 



i 



^ 



> 



't,^ 



-\ 




y- 




Bound to Stay in Place 



CLEMENTINE thought at one time that 
there could be no solution to her problem. 
She was troubled almost nightly with a rush of 
father to the drawing room. 

Just when the Class A boy-friend began twist- 
ing things in his hands and choking over his 
words in the most encouraging manner. 

Just as that would happen, father would come 
in. Brightly. In a chatty frame of mind. He 
liked the young man. So did she. But she 
could never bring him down as long as this 
kept up. 

First she tried persuasion. But to no avail. 

Then she tried force. She socked papa on the 
jaw, .got out the clothes line and lashed him to 
the kitchen chair. She lit his pipe when he 
came to, and asked him to whistle when he 
needed another match. Then she went back to 
the parlor and got to work. 

But this was only temporarily successful. Father 
took bo.xing lessons, and it became increasingly 
difficult to lay him out. Besides, it tired her. 



Things looked desperate. Then chance showed 
her the way out. She caught him one day read- 
ing her copy of MOTION PICTURE CLASSIC. He 
was absorbed in a dissection of Greta Garbo's 
soul, entranced by the technicalities of Clara 
Bow's negligees. 

How things have changed since then! Now, 
when father intrudes, she has only to say: "I 
tell you I mean it." He understands. He knows 
that if he sticks around she won't let him read 
her Classic. He cringes — and leaves. Then 
quietly — for she always plays fair — she gives 
him the magazine and instructions not to stir 
from his room for two hours. 

Clementine is engaged now, of course. All she 
needed was elbow room. And^er advice to 
girls with conversational fathers is: Feed them 
Classic regularly, and they're bound to stay 
still until they finish it. 

The time to start the treatment, too, is now. 
Get your copy today — and reserve one of next 
month's at the same time. CLASSIC comes out 
the 12th of every month. If you want father to 
keep clear, keep the 12th in mind. 



MOTION PICTURE CLASSIC 

It*s the Magazine with the Personality 



71 



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REID AND ROGERS FAN— Charles 
Rogers was born in Olathe, Kansas, 
August 13, 1904. That's his real name. 
He is playing in "The Sophomore." Write 
him at the Paramount Studios, 5451 Mara- 
thon Street, Hollywood, Cal. Here are a 
few of Wallace Reid's last pictures: 
"Sick Abed," "Always Audacious," "The 
Charm School" and "Too Much Speed." 
Why' not write the Wallace Reid Memo- 
rial Club, Ray E. Harris, 3625 R Street, 
N. W., Washington, D. C? Wallace died 
January 18, 1923. 

SANDY— I'll try and be the judge. 
Malcolm MacGregor was the chap in 
"Matinee Ladies," starring May McAvoy. 
May's latest picture is "Caught in the 
Fog." She can be reached at the Warner 
Brothers' Studios, 5842 Sunset Boulevard, 
Hollywood, Cal. Billie Dove was born 
May 14, 1903. She's five feet three inches 
tall, weighs 120 pounds ; brown hair and 
eyes. Real name Lillian Bohny. 

FAY B. — Lloyd Hughes has been mar- 
ried to Gloria Hope since June 30, 1921. 
His latest picture is "Heart to Heart," 
First National Studios, Burbank, Cal. 
Larry Kent is not married. He is twenty- 
eight years old, has hazel eyes and brown 
hair; also at the First National Studios. 
Gilbert Roland is twenty-four, John Gil- 
bert is not married. Playing in "Four 
Walls," Meiro-Goldwyn Studios, Culver 
City, Cal. 

RICHARD ARLEN FAN — Richard 
was born in Virginia twenty-nine years 
ago. He is five feet ten and a half, weighs 
156 pounds; dark brown hair, blue eyes. 
Nils Asther born in Sweden twenty-seven 
years'ago. You bet he's great. Have you 
seen him in "The Cossacks"? Send that 
note to the Metro-Goldwyn Studios, Cul- 
ver City, Cal. He'll be glad to hear from 
you. 

THE HENRYS — How's Oklahoma? 
Johiyiy Mack Brown was born in Dothan, 
Ala., twenty-four years ago. His first pic- 
ture was ""The Bugle Call," starring Jackie 
Coogan. He is married; too bad, but you 
may write him at the De Mille Studios, 
Culver, City, Cal., where he is playing in 
"Annapolis." Send me a self-addressed 
envelope for a list of the photos I can 
supply. 

YOURS — Ronald Colman can be 
reached at the Samuel Goldwyn Produc- 
tions, De Mille Studios, Culver City, Cal. 
He is playing in "The Rescue." Lili Da- 
mita is his new leading lady. Sue Carol 
is married to Alan Keefer, playing in 
"Captain Swagger." Eleanor Boardman 
to King Vidor, the director. William and 
Bill Boyd are the one and same person. 

FLORA OF FLORIDA— Barry Norton 
was the chap in "The Legion of the Con- 
demned." "Twenty-three years old and is 



not married. Write him at Fox Studios 
1401 No. Western Avenue, Los Angeles 
Cal. Gilbert Roland, twenty-four, no 
married; latest picture is "A Woman Dis 
puted," starring Norma Talmadge. Normi 
was born May 2, 1895; married to Jot 
Schenck. 

MERELY MARY— What again? Wcll| 
I'm always glad to hear from you. Beti. 
Bronson was born November 17, 19061 
not married. Write her at the Warned 
Brothers' Studios, 5842 Sunset Boulevard,|| 
Hollywood, Cal. Lon Chaney, April I,; 
1883. He was in to see us not long agoj 
No, he does not answer his fan mail. Sen^^ 
me twenty-five cents for his photo. Madg 
Bellamy, June 30, 1903; not married. Herl] 
latest picture is "Mother Knows Best.".! 
At Fox Studios, 1401 No. Western Ave»(| 
nue, Los Angeles, Cal. Edna Murph)(i| 
married Mervyn Le Roy. 



ANXIOUS ARLETTE — John Gilberl 
and Ruth Clifford had the leads in "Tru; 
ton King." Irene Hunt, Charles Frencl^ 
Ruth Clifford and George Billings, ".4bra 
ham Lincoln." You may write Dorothy 
Dwan at Educational Film Co., 7250 Santi 
Monica Boulevard, Hollywood, Cal. Evi 
Southern, Tiffany-Stahl Productions, 451 
Sunset Boulevard, Hollywood, Cal. Georgia 
Hale and Douglas Fairbanks, Jr., at thi 
same studio. Ramon Novarro, Metn 
Goldwyn Studios, Culver City, Cal. Ali 
Terry is in Europe at this writing. 



UNEEDA REST— I'll say I do, an^ 
how. Thelma Todd did not play in "The 
Private Life of Helen of Troy." Tom 
Owen and Matt Moore are brothers. 
Colleen is not related ; her real name is 
Kathleen Morrison. Her latest picture is 
"Oh, Kay." First National Studios, Bur- 
bank, Cal. Sue Carol was a Wampas star 
of 1928. Wampas is short for Western 
Association of Motion Picture Advertis- 



DIANF-— How's Chico? Is that a steal? 
Rod La Rocque is six feet three inches 
tall; married to Vilma Banky. Rod's lat* 
est picture is "Captain Swagger," De Mille 
Studios, Culver City, Cal. You may write 
"The Hollywood Movie Fans' Club." Rich- 
ard Keefe, 6723 Santa Monica Boulevard, 
Hollywood, Cal. Janet Gaynor, Fox Stu- 
dios, 1401 No. Western Avenue, Los Anp»;- 
les, Cal. 

ROSE BUDD— That let's you out, June 
is over. Walter Miller was born in 1892; 
real name. Married to Lillian Coffin. 
Playing in "Terrible People," starring' 
Allene Ray. Pathe Studios, 4500 Sunset 
Boulevard, Hollywood, Cal. Marion Da- 
vies is not married. Victor McLaglen, 
Lois Moran, Nick Stuart have the leads in 
"The River Pirate." Mary Astor, Albert 
Gran and Matt Moore in "Dry Martini," 
Fox Studios, 1401 No. Western Avenue, 
Los Angeles, Cal. 



74 



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24 New Pictures and the Next Six 
Issues of Motion Picture Classic 



Subjects : 

Mary Astor 
Clara Bow 
James Hall 
Jack Holt 
Fred Thomson 
Sally O'Neil 
Ruth Taylor 
Ralph Forbes 
Olive Borden 
John Gilbert 
Dolores Costello 
Marcelline Day 
Renee Adoree 
Eleanor Boardman 
Charles Farrell 
Tom Mix 
Rudolph Valentino 
Janet Gaynor 
Joan Crawford 
June Collyer 
Vilma Banky 
Ramon Novarro 
Rod LaRocque 
Lloyd Hughes 



You can have this wonderful set of pictures of your favorites if you act 
promptly. For a limited time we offer you this fine set of 24 new gravure 
pictures, size 5^/2 by 8 inches, with the next six issues of INIotign Picture 
Classic, for One Dollar. That's a bargain! The pictures are just the 
thing for your den or your collection. Suitable for framing, too. Just pin a 
dollar bill to the' coupon and mail to-day. Subscribe for your friends and we 
will send them each a set of pictures. Do it now ! 

Canada, twenty-five cents extra — Foreign, fifty cents extra. 



Motion Picture Publications, Inc., 
Paramount BIdg., New York. 



9 M. P. C. 

Offer No. 3. 



For the enclosed $1.00 please send me the set of twenty- four new 
pictures of motion picture stars and the next six issues of Motion 
Picture Classic. 



Name . . , 
Address . 



Start with. 



. issue. 



Knight Life in Hollywood 



(Continued fro 

lout how much it costs to be a star. How 
luch more, on every hand, a motion pic- 
re actor has to spend to maintain appear- 
ni.es than tlie average man. On every 
i and lie is gyped, nicked and just plain 

er-charged. 

The\' say the woman pays. But the 
an pays more it he is a motion picture 

tor. It's tough to be a knight in errant 
liijllyvvood. 

"I spent eighteen thousand dollars the 
first year I was out here, trying to be a 
good sport, and nearly went bankrupt. 
That was two years ago. Last year I 
lid to myself, 'Jimmy, this won't do. 
/here is it leading?' I hired myself a 
iianager, put myself entirely in his hands 
,.:k1 row I'm saving money. 

"Ninety dollars a month goes to my 

k-t-chauffeur who can also cook a good 
cal. Seventeen a week is for my maid who 
' ans. One hundred and fifty goes for my 
lartment. 1 allow myself an allowance 
: a hundred and fifty to two liundred for 
Vasure, which includes meals and enter- 

ining. My household expenses are sepa- 
ite. Sometimes my allowance lasts for 

o weeks, depending entirely upon the 
:tertaining I do. Occasionally it lasts but 

night." 

"It is a lot kss expensive to be on 
H' stage. For instance, in the matter of 
■ >thes. You play a part for two or three 
mths, maybe longer. You have, say, 
■om one to four changes, unless it is a 
irticularly dressy role. In pictures you 
re forever skipping from locale to locale, 
rom morning coats to golf knickers and 
nto full dress. You must have assorted 
ilressing-gowns in stripes and patterns and 
t,'ures with wide satin lapels and no lapels 
• all. If a garment is nni(|ue in design, 
I cannot be worn again. 

"You must be well stocked with sports 
ostumes for St. Moritz or Deauville, 



m page 40) 

Miami or Hong-Kong. ' Tomorrow's sun 
may bring a change in script and make 
yciu a top-hatter duke with a penchant for 
monocles. Or perhaps collegiate." 

Shoes, twelve or fourteen pairs, from 
glossy blacks to glistening whites, wait 
patiently in the closet of Jimmy's slightly 
rococo apartment. Six overcoats, one with 
a fur collar, all in smartest hues, idle ex- 
pectantly on as many hangers. Walking 
sticks ; spats ; two top hats — one collapsi- 
ble; seven lowly hats; dozens of handker- 
chiefs ; shirts of blue and white and green ; 
collars, -soft and yielding, hard and re- 
morseless ; socks ; cuff links, platinum and 
gold and silver; five sets of studs, black 
pearl, diamond, costly metals. 

".\nother thing that makes the stage less 
expensive is that you don't have the time 
for amusements that you do in Hollywood. 
After the show there is only time for 
supper and the next morning there is sleep 
until noon. That leaves the afternoon free, 
unless there is a matinee, and there's really 
.not much doing then. Out here, with regu- 
lar working hours, Itiostly, there are a 
hundred and one pastimes." 

And that isn't the half of it, dearie. The 
steep cover charge at our leading night 
clubs. After all, you can't take your lady 
to a hot-dog stand. , 

Gardenias selling for a dollar apiece. 
Mr. .\vcrage Man can send roses from 
two-fifty to five dollars or higher a dozen 
and his lady thinks he's grand. 

Jimmy sends gardenias. Merna Kennedy 
adores them. 

Motors. There, too, is an item. Jimmy 
has two. 

Photographers who charge two hundred 
dollars a sitting and friends who have 
hard-luck tales. The butcher, the baker, 
the candle-stick maker. And still they say 
the woman pays. 



A Ham Among the Yeggs 



(Continued from paye 5.S) 



All during the war he was an enemy 
lien in Germany. Kach day it was nec- 
ssary for him to report to the police. To 
ave the red card punched, or the green 
ird staniped. Tliere was tremble a!)out 
is |)assport. He couldn't leave the city, 
rherc were bootleg passports, too. lie ar- 
inged to purchase one, so that he might 
return here, and, if yon please, enlist un- 
der the grand old flag made famous by 
the -Marines and (ieorgc M. Cohan. 

Lucien has a brother, Henno. Remio 
IS an artist. Notice the ilhistration, it 
is his. While Lucien struggled as an 
actor, the kid brother had gained quite a 
degree of repute through his delineations. 
Rut neither brother felt thorouglily 
equipped to portray on screen or canvas 
the types they wished to create. They de- 
termined to steep themselves in the at- 
mospliere tiiey desired. In New 'N'ork it 
wasn't difficult. Just close your eyes and 
leap. You'll find yourself caught in the 
vortex of as strange a maelstrom as ever 
Poe envisioned. ;\nd this is what the 
brothers did. 

And when their eyes reopened, they 
found themselves members of as desperate 
and God- forsaken a band of ruffians as 
ever terrorized a taxpayer. .'\nd their can- 
dle-lit garret was the gang's rendezvous. 
It was bare and dirty. The roof leaked, 

Bthr rain beat its melancholy tattoo 
inst the rotting wood. There were 



rats, too. Other than the two-legged ones 
who congregated there. Molls from the 
waterfront, sailors' sweethearts (many 
sailors'), drabs from the docks. Men 
from many ports — the scum of the seven 
seas. Dips and cannons and peter men. 
Yeggs, hopheads, snowbirds. 

Henno and Lucien lived among them. 
Knew them, studied them. With them; 
yet not of them. For the boys had but 
one idea. Kach creeping human thing 
was placed under the microscope of their 
an. 

Then one day they had enough mate- 
rial. Renno went back to his atelier to set 
on canvas all that he had seen. And 
Lucien, well, as it happened, Lucien got the 
role of The PorliKjiiee in that awful pic- 
ture of which I have told you. 

First National saw the thing and were 
smart enough to sign him up. But they 
weren't smart enough to keep him. Or 
perhaps they believe in taking a profit 
where tiierc is one. In any event, after a 
few First National films, young Howard 
Hughes, the millionaire backer of Caddo 
Productions, bought the contract. Hqghes 
has spent a year and two million dollars 
producing "Hell's .Angels," an epic of war 
in the air. Prival plays an enemy oflficer. 
Then there is "The Racket." Hughes 
made that, too. And Lucien plays a gang- 
man killer in that one. He has made his 
expe'iences count. 




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77 



Where Summer 

Is Cool 
£itcKant]tneitt 

"The Ambassador is one 
of the most beautiful 
places I know of I " 

MADAME 
GALLI 
CURCI 

— declares in one of a large 
numberofUISSOLICITED 
COMMENTS by world fa- 
mous celebrities. 

"Certainly no hotel lo- 
cated in any large city 
has such extensive and 
beautiful grounds.^' 

For keenest enjoyment of your 

summer visit to California, 

make reser>'ations at — 



the 

Ambassador 

Los At&^eles 

NO HOTEL IN THE WORLD 
OFFERS MORE VARIED 
ATTRACTIONS— Superb 27- 
acre park, with miniature golf 
course, open air plunge and 
tennis courts. Riding, hunting 
and all sports, including 18- 
hole Rancho Golf Club. Motion 
picture theatre and .35 smart 
shops within the hotel. Famous 
Cocoanut Grove for dancing 
nightly. 

Writfi far (^ht'/^n Cook-book 
oj ('titifornin Rf*riprn 

ATTRACTIVE SUMMER RATES 






HKS h. FR4NK 



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WKmaammmF;,, • .irY^.m'%s 



Notable among the list of first-rlass passengers in "Noah's Ark'' is Iiouise Kazenda, 
whose performance, it goes withoiil saying, has no regard for llic Iwelve-smile limit 



Photo by Sarony 

(Continufd from page 25) 



Hart's new Iiome. He showed lis arouiul 
the place, proud as a boy, and kept saying, 
'Bee, look at this view,' and "Bee, how do 
yon like this room?' and snddcnly it came 
over mc that that had been Bill's pet name 
for me more than twenty-five years ago, 
when we thought wc were engaged." 

Louise Dresser lives in a house, not a 
Mediterranean villa, or a Spanish hacienda, 
or an English manor or a MoorisJi castle, 
like most of the picture stars; but a house, 
a substantial, unimposing, homey place 
without any particular architecture, but 
with — she laughs — the only front porch 
left in the world, and the only backyard. 
Not a patio, but a plain American back- 
yard with fruit trees and a garden and 
chickens and grass that isn't trimmed with 
a razor. And the house is not in Beverly 
Hills, not in Hollywood, but in a little 
country town in the foothills wliere people 
talk, not of tiic movies but of putting up 
fruit and making over dresses. 

y\nd I^ouisc Dresser's neighbors do not 
think of her, I am sure, as a Broadway 
actress or a famous movie celebrity but as 
"a real nice woman." They sec her weed- 
ing her beet-rows on her knees and train- 
ing her rose vines, and sometimes they 
lean on the fence and pass the time of day. 
Whenever the struggling country church 
down tlic road has a simi to raise for a 
new organ, "Mrs. Gardner" helps raise it 
by speaking a piece or telling funny chil- 
dren's stories- at the benefit. 

In private life (and she is one actress 
who has a private life), Louise Dresser 
has been Mrs. Jack (iardncr for twenty 
vears. She calls him Daddy, though there 
arc no children; but she is one of those 
women born to mother everyone, her hus- 
band, her own mother, her friends, extra 
yirls at the studio and the neighbors. 

Younger and Wiser 

'Thk onI\- way I'd ever know I was 

any older than 1 used to be." Louise 

I )resser says, "is that all these new niovie 



k 

1! 



I)i)ys and girls seem so pathetically yoiin, 
lovely children who talk another languag 
A little friend of mine has just gone t 
the stage in New York. She was out hei 
visiting not long ago and came to see rr 
to ask my advice about iier career. Natui 
ally, having grown up on Broadway nv 
self, 1 pictured myself settling all hi 
difficidties with a few wise, kindly word; 
But when she began to talk, 1 was appallc 
She wasn't talking about the Broadway 
knew at all (I can't believe it's changed j 
much in the six years I've been away 
She wasn't even talking about the satt 
zvorld I've known for forty-six yeai 
I've lived a theatrical life ever since 1 wi 
sixteen and I've never seen, heard ( 
imagined the things that child told mc." 

Looking at the Sarony picture, I ca 
imagine how that golden-haired yom 
choir singer from a small Indiana to,v\ 
could leave her mother and her Howers at 
her kittens and walk unafraid and ui 
harmed through all the disillusionmen 
and dangers of road shows, burlesqt 
companies, theatrical agencies. It is iK 
that New York was any holier or tl 
Great White Way any safer place f( 
girls in the late nineties than wow. Bi 
there is an invincible innocence aboi 
Louise Dresser. Even now the eyes < 
this middle-a.gcd woman look out on tl 
world with tlic candor and trust of 
girl, eager, confident. Even now, at fort; 
six, those eyes widen incredulously at 
talc of Hollywood scandal. 

"People have always been good to me 
she says simply, "I think perhaps they''* 
kept some things from me. Not that 
haven't been through a good deal." 

When Billy Kcrlin, father of the famil 
was killed on the railroad, his daught 
T-oui.se fell heir to the task of brcai 
winning. She hearrl of a position 
Boston with a musical show', and arriv 
with eight dollars in her pocket to find th. 
the musical show was a cheap burlesq 

{ ( oiitiiiiicri OH paqr W) M^pi 



Hi, 



Meteors of the Movies 

(Continued from page 73} 

Betty, like Belle, lias done admirably. 
She's played leads. But always the world 
shakes its head and remembers Betty 
Bronson a.s Peter Pan. Xot long ago 
she had a secondary part in a murder mys- 
tery picture. And even the corpse iiad 
more to do. 

Betty hasn't changed. Still elfin, whim- 
sical, sweet. It would seem the imp of 
the perverse is always loitering about to 
hang one pearl about the neck upon which 
ropes of them should coil — and that a 
single gem blackens and dies and takes its 
wearer with il. 

Why is it? How come that some must 
know the never-ending bitterness of hav- 
ing for a day worn the robes of royalty 
but to be plunged with tiiat day's death 
into the unending twilight of mediocrity 
or the ghastly night of nothingness? 

Happily, it isn't always so. Meteors 
have checked their flights when highest in 
the heavens. And have become fixed stars, 
reliable as the moon itself. 

Of course, there was "The Miracle 
Man." It made Thomas Meighan, Betty 
Compson and Lon Chaney. But now this 
is scarce remembered, for the three have 
passed on to even greater triumphs, and 
today, almost a decade later, they remain 
high in public favor — high in box-office 
Value. 

Another classic example is Valentino, 
himself. An unknown, he was chosen by 
or through June Mathis for his part in 
"The Four Horsemen." The rest is his- 
tory. Phyllis Haver, more recently, was 
discovered" in "The Way of All Flesh" — 
alter years on the screen. "Chicago" fol- 
lowed,, and there are more to come. 
Phyllis seems set. Biit for "Tol'able 
David," there may have been no Richard 
Barthelmess. Vet .Mia Nazimova. with 
whom Dick played a minor role in "War 
r.rides," was never able again to equal her 
success in that drama. 

Again the suspicion that the director is 
the god in the machine comes to mind 
in the consideration of the Chaplin pic- 
ture, "A Woman of Paris," which made 
Menjou what he is today. W'e hope he's 
satisfied — he should be. Edna Purviance, 
however, failed to follow up this brilliant 
success. "The White Sister" gave us Ron- 
ald Colman. He is here to staj'. 

One of the oddest examples is that of 
Alice White. She played a second lead in 
a very poor picture, "The Sea Tiger." 
which starred Milton Sills. But she was 
.So palpalily box-office material that she 
stood out like a purple poppy in a field of 
flax. Even when they tried to shelve her, 
the nation's showmen howled them down, 
.;id Alice was brought back to screen life. 

A lowly independent produced "The 
I'lastic Age": and with it, like a magi- 
I uin taking white rabbits from a'black hat. 
produced Clara Bow and Gilbert Roland, 
too. Charlie I'arrell and Janet Gaynor 
rose to the ".Seventh Heaven" of fame 
• ivernight, and they say that when "The 
(judless Girl" is shown, George Duryea 
and Lina Bascjuettc will join the immor- 
:;ils. 

.So it goes, here a winner — there a loser. 
i Urt a meteor — there a star. If you can 
fathom the rea.sons, " then you know what 
makes success and what makes failure. 
'\Tid with this knowledge, men will come 
1 rom great distances to put diamonds in 
your hair and call you the "Light of Asia." 
Many maids from many lands will offer 
' on their stniles. and it wouldn't he at all 

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rhance of great fortune. George M. 
('ohati read it and tliouglit it promising 
enough to reroinmend. William Brady 
ga\e Mr. Dunning the usual rtve hundrrd 
dollars retaining fee and kept it fur over 
a year- finally returning it to the author 
with the notation that he felt it wouldn't 
get over. 

(3ne of the biggest i)roduccrs in the dra- 
matic field approached Dmniing after the 
play ojiened with the reproach that he 
should have had a chance to read it. 

"Why you had it in your office for over 
three months," Dunning replied, "and then 
you sent it back to me saying you didn't 
like it." 

"My God." exclaimed the producer. "I 
never saw it ! Wait till I get at that reader 
in my office. He sent it hack without 
even showing it to me," and at the thought 
of all the fortune he harl missed through 
his play-reader's fault, his face turned pale. 

No Four-Flushing Here 

T~'nK idea was finally sold over a .stud 
l)oker game in Chicago. Jed Harris, 
Dunning, and several others were having 
a game while a plaj- they were directing 
was going on. Dunning, in between hands, 
told the plot to Harris. Finally, the latter 
said: "All right! I'll put it on if you 
will let ficorgc Abbott in as co-author, anrl 
let him go over it with you." 

DuiiTiing, of course, agreed. H(' was 
assistant stage director at the time for 
Dillingham, and earning about a hmidred 
dollars a week. However, he stipulated 
that he had tlic cast airearly. Nobody had 
ever heard of a single member in" it. When 
the play opened, most of the actors and 
actresses became targets for contracts im- 
mediately. 

'Si\ months afterwards, when the horn 
of fortune was pouring golden shekels into 
Dimning's lap, he still kept his job as stage 
fh'rector with Dillingham. I have known 
many liabitues of the street of white lights, 
but outsifie fif GcMie Ruck, I )ic\cr met a 
man more untheatrical and nn-actory than 
Philip Dunning. 

Tlis whole life has been si)cnt behind 
the footlights. lie traveled at twelve 
with a small-time vaudeville magician. He 
was lied haiul and fool and locked up in 
a big trtnik, and then imder the Houdini 
law, escaiied free four times a day for 
about eight dollars per week. 

lie knows Hroadway and everything con- 
nected with it as well as, if nut better than, 
the oldest inimimer. He doesn't even know 
how much money he has made out of the 
play, although it has already netted the 
I)roduccr alone something over a million 
flollars, and he fDinnniifi) still lives in 
Brooklyn. "God's Gountry," he calls it. 
and his family- life with his young wife 
and children, is that of a fairly comfortable 
yoimg business inati. Nine hundred and 
m'nety-nine otit of a tliousand of hi.s col- 
leagues, under the same eirciunstances, 
would have Iwught a yacht, a home nn 
Park A\enue, and spats. 

And listen to the latest dramatic prodigy 
on the subject of the movies : 

"How do you feel about selling your 
darling brain-child to the cinema dragon," 
I f|ueried. 

A Pessimist's Optimism 
' O"' ' f'on'l know," he replied. "I sup- 
pose it will be all right. I expect 
alinost anything will hapiien to it. There 



uni page 26) 

isn't any way to tell. I've only seen : 
ct)uple of good pictures. 'Chang' and 'Th, 
Underworld,' and, of course, 'The 
Parade.' The rest are terrible. Person. ii 
I don't think they've even begun to niaki 
pictures yet. They don't know how. It 
in the wrong hands. Too much of this bi^ 
director and star and snper-productiot 
business. ; 

"Some day, maybe, .somebody who isn'i I 
an.xious about having his name in eight ' 
foot type on the title screen will take hok 
of a story and turn out a picture that will I 
start the ball rolling. Mo.st of the directors- 1 
haven't sense enough to ajipreciate theit I 
opportunities. Look at 'Broadway' ! The ' 
reason it was a success was that I madt 1 
characterizations that nine out of ter 
people would recognize. How often dc | 
yoti sec a real characterization on the i 
•screen? Never! It's like the bootlegging | 
game. Too many gang leaders watching! 
the pot for the money and handing out 
cut stufT. They're all too interested in th( 
box-office cikI to know what they've reall\ 
got. You ought to see some of the films 
I've made." 

"What !" 

".Sure! I've got about two thousand fe^t 
of film that I took myself. Jtist for fiitl 
you know. I got up a little scenario aMi 
took .some of the cast from 'Broadway' am< 
made a movie. Great fun," he added. 
"I bought a little Hrll camera, and fver^ 
time we have a party, I show my stufif. ' Of 
course, I make lots of movies of the kids, 
too. Finest family album on the market 
now. They eat it uiJ." 

Back-Stage Fascinates H'ni 
J-Iii went on to tell of how he had written 
another scenario on circus life, and had 
gone down to the Piannim and Ha i ley 
slunv in Brooklyn and crankerl the can;(-ra. 
The story was fascinating. "The back, 
stage angle on life from every point inter- 
ests me iTiore than anything else,'' he 'i.n- 
eluded. ".So I made a movie of the things 
that go on behind the scenes when a hi^ 
cii-cus is being put on. Vou know, ilic 
clowns .shooting crap, the little boy wl-.o 
hasn't the money to see the show, pecking 
through a hole in the canvas and seeing 
the hare -back riders before they go on, and 
the acrobats, the horses, and so on. It 
turned out jiretty well, too," he added. 

1 wmdered where he found the time 
to do all this. }?esides writing plays, direct- 
ing and staging them, he informed me 
most casually, that he wrote scenarios, 
while going to and from P,rooklyn in the 
subway ! 

He has just sold one iov a pretty stiff 
price to De Mille. Another is being ne- 
gotiated for In- a famous film orjianiza- 
lion. He admitted it was a cinch to write 
a movie scenario. In fact, he had been 
surprisef! how easily and (|uiekly he coidd 
write them. And the prices he gets fon 
an original scenario would luake most pro- 
fessional story-writers pale with envy. 

As uni(|ue a young playwright as I have 
ever seen, for, besides being modest as to 
his talent, he is the (lossessor of enough 
good looks to make Iiim a film hero any 
dav. To me. the most unusual thing about 
him is the fad thai he has written and 
sold to Cecil B. De Mille a story without 
a single golden bathtub scene in it! 



80 







Play on, MaiDufl"! l)irt»<lors have no 

he^itall<■y ill urging Sandy. n> portrayed 

hy J;iik Dufly, to do >o. inasiiiurh a.> his 

pirtiires aren't ialkie> 



Are the Children of the 
Screen Stars Normal? 

(( iiiiliniicd frmii f^otir 31 ) 

iwiisensc ht'ciiusr — and so on. 



What the Doctor Orders 



1)1 

Ijavo 
Tliey 

gos 



"rToKTlN ATKl.V fur US (loct()r>." 

I'.arl Tarr says, "iiiiluri' peoplo 
fcwt-r traditions and pri-tixcd ideas, 
haven't a(i|uircd a stort \>i old wives 
sip ideas. They are frankly ignorant alxml 
their children's needs. territie<l at the mer- 
est hint 111 anythinK wrong. 'Ihey send 
ior the d'lctur and make him resptiiisihie. 
They listen intelligently ti< his direetions 
and uhey them ti> the letter. I only wish 
;:ll parents understood the modern creed 
oi' a thorough physical e.xaminalion (or 
their children once a month, regular hours 
for rest and play, ami seiisihle loud, as 
uell as most mo\ ie parents I know." 

Net, these same parents prohahly stay 
out at parties all night, eat irregularly and 
wear out their own ner\ons systems with 
all forms of excitement I 

A hahy horn in the household of a film 
celehrity may he a serious interruption in 
his famous mother's career, or threaten 
liis ir|oli/fd father with a loss in romantic 
.il'peal, among his lady fans, hut his chief 
(iatiger is not that he is unwanted. It is 
llial he will he hahied and pampered and 
^|)oiled hy these peoiile who delight in 
expressing their own emotions in action. 

Movii' fathers and mothers. Dr. Tarr 
admits, are prone to sacrifice everything to 
heaiity. Tiiis e.\i)laiHs why a large numher 
of movie children seem a trifle delicate 
and floll-like. 

Sand-Pile Snapshots 

"nTiiKV keep them out of the sun. and 
always on dress parade," lie shrugs, 
"hut when we show them how much hetter 
( Colli iiiurii i»i f^diif 01 ) 



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"The Big Parade" marches toward posterity: John Nichols inspects the 

seals on the containers of Laurence Stallings's war picture before placing 

them in the Smithsonian fireproof vaults 



Is Time Rotting Our Film Records? 

(Coiititiucd from page 58) 



Will our great-grandchildren be able to 
look at the faces wiiich make our hearts 
beat faster? In 2028 will John Gilbert 
still swashbuckle across the screen and 
Clara Bow show the flappers of the future 
that quaint historical phenomenon known 
as "It"? Will the school children who 
study about the Great War and Lind- 
bergh's flight across the Atlantic be able 
to watch the actual scenes enacted before 
their very eyes? 

For twenty or more j'ears the Smith- 
sonian Institute in Washington, D. C., has 
been systematically collecting and pre- 
serving the news films wiiich seemed 
worthy of being kept as historical data. 
When Famous Players made "The Rough 
Riders" recently, the studio was able to 
incorporate in the picture an actual scene 
of Roosevelt giving his inaugural address, 
reprinted from the negative in the vaults 
of the Smithsonian. There are miles of 
war scenes shot at the front during the 
\\'orld \\'ar, glimpses of the famous men 
and women of our times, news-reel pic- 
tures of naval engagements, disa.sters. na- 
tional celeljrations, all of them sealed in 
air-tight containers and hidden away in 
underground storehouses where the tem- 
perature never varies. 

Dry Quickly, Die Quickly 

pxACTLY how well these films are last- 
ing, it is difficult to say, because these 
sealed containers are seldom opened. But 
Mr. Nickolas, head teclinician at Metro- 
Goldvvyn Studio, is not sanguine. "The 
most important thing in preserving a Him 
is that the hypo shall be thoroughly 
washed out of it, and that it shall be dried 
slowly," he says, "but most news-reel pic- 
tures are hurried through the developing 
bath in order to get them on the screens 
as soon as possil)le. People are impatient. 
They want to read about their floods and 
their horse races and their aeroplane 
flights in their morning papers and sec 
them at their neighborhood theaters tiiat 
same evening. When you treat film in 
this way, it can't last very long. The 
clieniicals left on the film after its hasty 
bath will eat into it in time. You can 



make perfect prints from news-reel film, 
but most prints are made as hurriedly as 
the rest of the process. We're not con- 
cerned with the future in this business- 
yet." 

When the American Museum of Natu- 
ral History recently sealed two hundred 
thousand feet of film showing wild animal 
life in African jungles away in vacuum 
containers and stored it in its archives, 
not to be opened for iialf a century, it 
was done in the belief that by that time 
wild animal life would have disappeared 
from the globe with the rush of swarming 
populations to conquer the remaining 
vacant lands. In this way they hope to 
keep the elephant, the tiger, the giraffe 
from the fate of the mastodon and the 
dinosaur and show the children of a gen- 
eration without zoos or circuses tiie 
strange lost citizens of the jungle world. 

Mary and Doug Posterity 

I7vERV'rHi.\(; possible has been done to 
preserve this film for the future. But 
the news-reel shots of Lindbergh, the 
hero of the hour, will last an even shorter 
time than the memory of his flight. 

In tlie feature pictures almost no at- 
tempt has been made to keep a print for 
tomorrow's fans. Mary I'ickford and 
Douglas Fairbanks have several of their 
films sealed in lead containers, witii print- 
ed directions for opening at a date several 
hundred years hence. Metro-Goldwyn and 
other ijig companies have l)egun to "can" 
their liiggest feature.s — tliere is a possibil- 
ity that "The Big Parade" and "Tiie Trail 
of '98" may be shown in a world unlike 
the one we live in now, a world where war 
is as archaic as the Black Death and air 
travel has brougiit Alaska into the posi- 
tion of a suburb of San Francisco. 

If studio technicians should experiment 
in methods of preserving fihn indefinitely, 
or .devise a more permanent kind of film, 
the stars of the present might hope for, 
lasting fame. Or it would he possible ti 
keep a negative for fifty years, then maki 
a duplicate on a fresh film and repeat the 
process endlessly, so that posterity will 
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Going Hollywood 

(C OHliiuied jrom jnuji- 4'); 

didoes arc cut al these affairs and related 
with imuli raiicuiis mirth afterward to 
friends who did n<n attend. lncideiitall\ , 
they are hkely to he hard on tiie furniture, 
the guests liaving a tendency to lireak out 
in games of leap-frog. 

Big Hoy Williams, who weighs at least 
two hundred and tiiirty pounds, hung l)\ 
his toes from the rafters of his hosts" liv- 
ing-room at such an affair recently. 

When a young player gets his hreak and 
comes into sudden prominence, his friends 
watch anxiously for signs that "Holly- 
wood is getting him." 'IMiis is another 
lenn for tlie .same phenomenon. And one 
of the first syiuptr)ms of this deplorahle 
condition is his frc(|uent appearance at 
I«rties. 

Friends of Piuddy Rogers are watching 
him with great concern. They needn't 
worry, however, for a slight tendency to 
sartorial dash is the only symptom he has 
exhihited. 

Lawrence Gray, who makes a sort of 
fetish of avoiding the manifestations ol 
the disea.se, says tiiat a tremendoijsly eii- 
thiisiastic hail-fellow-well-met attitude is 
typical. 

"People meet you oti the lot and cry, 
'Hi, there, <ild kid! (ilad to .see you!' 
But most of them aren't at all. The thing 
is infectious, ^'ou find yourself doing it, 
too, automatically, when inside you know 
that >ou aren't so glad to see that particu- 
lar person at all and don't give a darn it 
you never see him again !" 

Putting On the Act 

SEEKING always for some solidity of value 
in the froth of the picture world, peo- 
jJe talk a great deal ahout Sincerity and 
Reality. 

Clara Bow murmured to me not long 
ago (Clara goes in rather strongly for 
nuirmuring just now), "Picture people 
think in terms of money and hox-office 
values. Never in terms of friendship. My 
liest friends are i>euple who have no c<in- 
nection with the industry!" 

Clara, heing a young woman who has 
made lier way hy heing sui)erlatively her- 
self, prohably knows whereof she speaks. 
Her plaint is an oft-repeated one. 

John C'olton, author of "Rain," who 
transferred his talents to the screen .some 
two years ago, l(pld me upon one occa- 
sion, "l-'.veryone who does — or tries to do 
— creative work is a little hit 'touched' in 
the head. Hut the people in H(dlywood 
carry the thing lo extremes! They seem 
to he unanimously mad!" 

Extremes of all sorts seem to he a ))arl 
of it. I'.xaggeralion of emotions, of amhi- 
tion, of fashions, and lA fads. Mild flirta- 
tions are exalted to the status of grand 
passions. People marry on impulse an<l 
repent in print. They adopt poses and 
carry them to the limit of puhlic crcd- 
idity. 

The malady takes many forms and the 
syniptoins vary with individuals. Almost 
;uiy form of pose, hluff, inconsistency or 
idiosyncrasy earns the indictment. Hut it 
is certainly significant of sf)mething or 
other--either jjrovincialism, a lack of local 
pride, or loyally to the jirofcssion. For 
convenience, thus, we group the unpleasant 
traits fif our members under one head and 
call it Hollywood I 

Tli;it T slioidd s:iy, was also t\pical! 












Nidi 




•—^^.imima^^imiff^^^^ 



EDUCTIVE Shari 
toiletries are ador- 
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SAVE 7Vith SAFETY fl/yowr 

Drug Store 
You will recognize it ty this sign 
Liggett's are also * ^9^)uxSX stores 




"^ lou 
\ Ligg 



83 




Sri^mJk _ 
8xpressii)e SUSS 
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Just a brush stroke of harmless solid or water- 
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FRECkLES 




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feeling ashamed of your freckles, as Othine 
— double strength — is guaranteed to remove 
these homely spots. 

Simply get an ounce of Othine from any 
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Be sure to ask for double strength Othine, 
as this is sold under guarantee of money back 
if it fails to remove your freckles. 

OTHINE 



From Embalmy Days to Balmy 

{Continued from page 33) 



DOUBLE STRENGTH 



with Mack Sennett. Although not as a 
bathing beauty. His career to the present 
writing includes work well done for Fox, 
for Universal, for Hal Roach, Warner 
Brothers and First National. And, de- 
spite his length of service, his greatest 
triumphs are yet to come. 

Let's pick him up, as the scenarists say, 
in his home perched high -in "the hills of 
Hollywood. He stands before an immense 
window which reaches from /floor to ceil- 
ing and gazes down bn distant lights which 
twinkle like a lake of stars. An inspira- 
tional moment, one gathers. Then, turn- 
ing toward us and regarding the wide, 
blazing hearth— the rare rugs inches deep 
— the man-sized lu.xury of the chairs — the 
elegant comfort of all the room, Richard 
Wallace grins from ear to ear and breathes 
a prayer he ineans : "Thank God for the 
movies!" He's positively fervent. And 
why not ? The cinema deity has repaid 
him well for the sacrifices offered at her 
shrine! 

He's very tall. And pretty skinny. An 
unusually large head appears yet more im- 
pressive because of a mop of tawny-tinted 
hair, wild as a woodland, and running off 
to side-burns, untrimmed as the lawn oi 
a deserted house. There is both depth and 
width of brow above oddly disconcerting 
eyes which flash from abstraction to keen 
intensity. He is possessed of much un- 
rest ful nervous energy. His hands wan- 
der and usually find their way to the peace 
of his pockets. His speech is nervous, too. 
And very sudden. Words tumble over 
one another. His tongue isn't so. quick as 
his brain. Sometimes he expresses him- 
self in pantomime. 

The more he talks, the more one not 
knowing his vocation would write him 
down a scribbler. Either a newspaper 
man or an author. And in the conversa- 
tion it develops that after some directorial 
experience he preferred to write for the 
screen. But it seems that upon each occa- 
sion an emergency of some sort would 
arise where he would be coaxed into tak- 
ing up the megaphone "just this once." 
And Wallace, an obliging cuss, couldn't 
refuse. 

Tough Assignments 

'T'o Wallace was assigned the difficult 
* task of translating the personality of 
Will Rogers into celluloid. How well he 
luade out may be judged by "The Texas 
Steer." And when it is remembered that 
Rogers' charm lies principally in his 
spoken witticisms, the picture must be 
chalked up on the credit side of the Wal- 
lace ledger. 

The director tells interesting tales of 
this cowboy who quit the range — and the 
"Follies" — to make himself a national 
figure. Stories of the inevitable gum- 
chewing (and isn't it remarkal)le that in 
these days of advertising stunts no chew- 
ing-gum maiuifacturer has made capital 
of Will's habit), stories of Rogers type- 
writing his daily newspaper column, no 
matter where the troupe might be on loca- 
tion ; stories of his modesty — regarding 
which there secius to be some doubt ; and 
a little human tale of how he one day was 
seated on the curb in Washington sur- 
rounded by a thousand kids, and suddenlx 
doffed his "ten-gallon" hat and handed it 
to the nearest one, saying, "Tom Mi.v ga\ e 
me this" — and how the chapeau w: s 
passed from hand to hand, up and doy n 



the block, before it finally rested again on 
its owner's head. 

Wallace has other yarns to spin — oil 
"Raggedy Rose" and Mabel Normand; of I 
Corinne Griffith and her biggest t)ox-office| 
success, "Syncopating Sue," of that mon- 
strous money-maker, "McFadden's Flats,"] 
and his still more recent successes. Right! 
now in your neighborhood theater "Thel 
Butter-and-Kgg Alan" is playing. When 
they bought the story, no one stopped to 
think for an instant that it wasn't the best 
possible luovie material. But when there 
was time to consider, it came to light that | 
in the play many a complicated situation 
was cleaned up with a single spoken sen- 
tence. More and more, it looked like a I 
tough assignment. So they gave it to !| 
Richard Wallace. And he made it into a 
pi'.'ture. 

Wants Whimsical Story 

I SAW him directing this one. .\t work 
he's rather a revelation. 1 don't believe 
he ever uses his megaphone or one m 
those cute little directorial camp chaii s 
with his name neatly painted all over il. 
No, Wallace must literally have his hum' 
in the scene, hopping here and there, all 
over the set, showing the players what t.i 
do and how to do it. He has the thrici- 
blessed power of concentration. When lu's 
intent on a piece of business, the niodn 
may fall or the sun stand still, but not for 
an instant will he be distracted from liis 
job. 

Like all great comedians or directors of 
comedies, he is always aware that an ad- 
mixture of pathos in the proper .^pots 
makes the next laugh louder. In anal.\/- 
ing the broad humor of "McFadden's 
Flats," he can prove conclusively that the 
biggest roars of merriment are not a little 
dependent upon touches which approach 
tearfulness. 

Wallace dislikes slap-stick and longs for 
a picture story which mingles whini>\ 
with its wit. It is his ambition to gel 
away from the obvious and inject the sub- 
tle character apparent in every great pho- 
toplay. With the type of material with 
which he has recently worked, this has 
been impossible. But one day he will get 
his opportunity and then he will demon- 
strate a depth of knowledge and of feel- 
ing and of understanding with which few 
credit him at present. 

Yes, he is married. And he is very 
iTiuch in love with his wife. I think siie's 
something of a mother to him as well 
as a sweetheart. He has a habit of turn- 
ing to her for information when his irieni- 
ory faik — of consulting her on maii\ 
questions of varying importance. He - 
rather miserai)le when she's away. Lost. 
sort of. In fact, when they recently visited 
New York, she left him for an instant in 
the Grand Central Station and he got losi. 
sure enough. She went calmly to the hotel 
and he showed up, safe and sound. 

Wallace is in his middle thirties. lli< 
wife is younger. If you ask him whellui 
they have ciiildren, his answer is that tlie\ 
haven't had time. It's been a busy and a 
changeful life thus far. Perhaps next 
year — or the one after. . . . .'\nd then 
maybe a homey little undertaking parlor 
down in Pasadena where so many people 
go to die. Don't mistake me. They pick 
Pasadena because it's so beautiful that 
residence there makes the change to 
Heaven seem less sudden. 



84 



I 



Fm Going to Be DifF'runt 

{Continued from page 29) 

Then, one day, he was standing with a 
pal in front of Henrj's cafe, the fa- 
mous Henry's patronized by Chaphn and 
lesser sycophants. They tossed a coin to 
decide whether they should fare beyond 
their means at Henry's or move on to 
lesser food and lesser checks. The coin 
spun — and it was Henry's. Thus does the 
flip of a coin decide a man's whole fate. 

They went in and presently a waiter 
came up to LeRoy. He asked him to step 
to another table and speak to Mr. Edwin 
Carewe. LeRoy took his chance by the 
throat. He was horribly nervous. He 
still is. Mr. Carewe wanted him to play 
opposite to Dolores del Rio in "The Bear 
Tamer's Daughter." LeRoy thought his 
empty stomach was reacting on his brain. 
He pinched himself. He still felt. He 
made the tests. The results were — well, 
the results were a five-year contract with 
Edwin Carewe, and the wolf wailed a 
swan song from the Mason door. 

"I'm going to be diff'runt," said big, 
timid LeRoy Mason. 

"How?" I inquired — and sighed because 
he was so very brand new, so raw and so 
sensitive to the first bloom of success. 

"I'm preparing for the future. The past 
has taught me to. I've taken out life 
insurance. All that I can safely carry. 
My mother is building us a home out here. 
A home we can afford. 

"I used to drink — well, quite a bit. I've 
cut it out. Entirely. And when I make 
up my mind to do a thing or not to do it, 
I do stick. 

"I'm going to get married some day. 
Not right now. Not for some time. I've 
never cared a great deal for girls. I won't 
have my head turned like some fellows I 
know. That sort of thing has never both- 
ered me very much, and I'm not going to 
let it begin now. I'll be diff'runt enough 
to know that most girls won't care a rap 
about me for myself. They will have — 
very often — quite other motives. I'll know 
that. I won't he fooled. 

"I won't go to parties. I don't like 
them anyhow. I love to be alone — in or- 
der to ponder over my past sins. I've al- 
ways had ti-.at craving to be by myself, 
even when I was a kid at home. 

"I want to play the kind of parts I'm 
playing now. in tiiis picture. Parts where 
1 am not dressed up. Where I am wild 
and vagabondish and free. 

"I always learn from the mistakes of 
otiiers. And when I think of poor Wal- 
lace Reid and Valentino, I feel that I'll 
know what to do and wiiat not to do. 

"I'll never have a lot of followers or 
parasites or whatever you call 'em around 
ine. Bad advisers with worse intentions. 
I'll know what that's about, too. 

".\nd I know I'll never get what is 
commonly known as Ritzy or high-hat. 
Eor a very good reason. I like my fellow 
men too much. I love people. They've 
been good to me out here. They've given 
me the glad hand and good wishes all 
along the line, and they would have given 
me more substantial things if I had let 
'em. Charlie Earrell and I extra'd around 
together quite a bit. and we often used 
each other's name and went to two studios 
where one of us had been called. You 
can't up-stage people when you love them. 

"I believe that a person gets out of life 
and out of things just about what he 
iiives. I suppose there's nothing very new 
111 that except that I believe it so firmly." 

And so they continue to go on — and on 
— one generation never learns from an- 
other. 




(feminine Qyiygiene is \Vloio 
(Convenient J-Jny where 




'HE modern American 
woman is envied by the 
women of all other 
countries in the world today be- 
cause of her independence. She 
knows how to take care of her- 
self And she has learned that 
the secret of a woman's charm 
depends upon personal hygiene. 

She knows that neglect of this 
matter means broken homes and 
blasted romances. 

Heretofore feminine hygiene 
has been maintained at great dis- 
comfort. Seldom convenient, 
under some conditions it was 
impossible. 

No 'Water Is Necessary 

Now, however, through the use 
of a harmless antiseptic in tablet 
form, feminine hygiene is possible 
at all times and under all condi- 
tions, as no water is necessary. 

These tablets have for a long 
time been prescribed by the med- 
ical profession. They are called 
Pariogen tablets — pronounced 
Par-i-ogen, with the accent on the 



eye. Pariogen is not a poison and 
contains no carbolic acid, cresol 
or bichloride of mercury, yet it 
destroys the most pernicious 
germs in a few moments. 

Carried In A Small Handbag 
Twelve Pariogen tablets come 
in a small tube 4H inches by J^ 
inch in diameter — about the size 
of a fountain pen. The price at 
any drug store is only $1. Pari- 
ogen tablets make hygienic meas- 
ures possible almost anywhere, as 
no water or the usual accessories 
are required. 

Mailed Under Plain Wrapper 
If you prefer not to ask your 
druggist for Pariogen, just send 
us a dollar bill with the attached 
coupon. A tube of Pariogen tab- 
lets with full instructions will be 
sent you under plain wrapper. 

If for any reason you do not 
wish to keep them, just return 
whatever remains and we will 
promptly refund your dollar to- 
gether with postage. Tear out 
the coupon now. 



■TEAR OUT here- 




American Drug &. Chemical Co., 

420 South 6th Street, MinneapoUs, Minn. 

Enclosed find $1 for which please send me under plain 
wrapper one package of Pariogen tablets together with fvll 
directions for their use, under the money back Kuarancce 
stated in your advertisement. ^g 



(Please Priiu) 



CitY- 



Sute 



85 




Accept This Elegant Key 

{Cnntifiiied from pUL/e ,57) 



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Send no money. Simply pay postman only $1.50 when 
the package arrives. I prepay postage. Write me today. 
(Mr«.) GERVAIS^ GRAHAM, 25 W. Illinois St.. 
Dept. C-9, Chicago, Illinoie. 



FORM DEVELOPED 




My Big Three Part Treatment is the 
ONLY ONE that gives FULL 
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exercises, pumps or other danger* 
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If you send a DIME toward expenaes. 
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f not. your dime back by first mail. 
Address ^40W, witb ten cents only 
Madame K. 0. Williams. BuHalo, N.Y. 



NEW PHOTOGRAPHS— 

III any .Moliun I'iclurc .Slai. .size 8 x 10 
Indies — 2.S cents each or live (.S) for one 
dollar. Write for list of subjects. These 
are actual pliototcraphs. l.atest poses. 
Send remittance to: 

THE ANSWER MAN 
Motion Picture Magazine, 1501 Broadway, New York 





BUNIONS 



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IN IS 
DAYS 

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Kmaller. 

PROVE IT FREE 

Just send your name and addres-t, no money, and the full 
treatment guaranteed to bilng complete results may be 
yours to try. So obligations. — Address 

KAY LABORATORIES, Dept. GGOS 
1*0 Nortti Wackor Drivo Chicago, llllnolt 



Angele.'; that he carries one in his grip 
every time he returns from the Kasl. 
When stars go on personal-appearance 
tours over the country, tlie usual thing is 
to carry a framework representing a key 
on which flowers can be arranged at each 
new city. The same key (with tlififerent 
flowers) is ]>reseiite(l by a score oi* .so of 
Mayors and belongs to some mythical lock 
ill each city passed through. 

The Mayor's Lair 

ETiRKi) with a daredevil spirit of ad- 
venture that led me, erstwhile, into the 
lairs of such men as Harry K. Thaw and 
Cecil l)e Mille, 1 spent the better part of a 
morning tracking the Mayor of Los 
Angeles to his desk. 

Wearing a cheerful front which I had 
kept ill a clean paper bag in my pocket, I 
proceeded to (|uiz His Honor about the 
key-distributing business. 

"We don't give out a key every time one 
of the film magnates returns here," he con- 
tinued, "if we did, we should meet every 
train. This office has other duties, you 
know," he reminded me, "besides distribut- 
ing keys. Some of the Hollywood press- 
agents seem to forget the fact. 

"it is not easy for us to determine who 
is of sufficient standing in the motion pic- 
ture business to rate a key," the Mayor 
pursued, furrowing his civic brow. "We 
are apt to be the victims of unscrupulous 
publicity men, of whom there are plenty 
in this city. I rarely go to the movies and 
haven't the least idea who is who in the 
business. Celebrities come and go so 
rapidly that one can't keep pace with them. 
1 liave several times been badly abused by 
people who take advantage of my ignor- 



ance and pretend someone of no importance 
is really a figure on the screen. Present-' 
ing keys to the city is a liighly delicate 
matter. I was roundly censured on one 
occasion by many factions in the city for J^ 
l)resenting a key to Aimee MacPherson. 'M 
That was before her little trouble, of 
course, but she had many enemies. 

Compromising Composites 
"'T'o save myself from niisrepresentalion 
by press agents 1 often merely present 
the key to the city in a figurative way, 
witliout actually handing anything over. 
'Jhis also jjievents iniblicily hounds from 
])ublishing trick photographs, vvhicii is a 
thing they often do. 1 don't mean tiiat 
tliey show me presenting a key when I 
didn't, but they sht)w me in positions 1 really 
didn't occupy. In connection with some 
female screen celebrities this is apt to be 
distressing. 

"The key is merely a concrete expression 
of welcome. It doesn't unlock anything, 
either doors or laws. As I present it, 1 
ask the arriving personage to accept it as 
a key to the hearts and homes of Los 
Angeles. It has no other significance. 

"Wiiom have I given keys to among the 
film people? Well, practically all of them, 
1 imagine. I don't know their names most 
of the time. We don't di.scrimiiiate in the 
matter of nationality. No deserving case 
is refused." 

"Why not present a real key to this 
noble edifice, the City Hall?" I suggested 
briglitly. "It would be so practical." 

His Honor coughed. "We have such a 
key," he .said, a trifle confu.sed, "but the 
only person we present it to is myself. 
One has to be careful." 



Isn't Love Wonderful? 



i^Coiitiiiiu'd 

"Oh, it isn't that I lost interest in my 
own work," Joby replied, "1 just became 
more interested in Dick's. 1 don't know 
of any one who has ever come up any 
faster than Dick. You know, wiien we first 
met, he was just doing little bits over at 
Lasky's. But I knew from the first that 
he was going to be big. I knew tliat any 
one with as much personality as Dick had 
was bound to get ahead. 

Coming Home on Wings 

"I'll never forget the day he came and 
told me he was to have the lead in 
'Wings.' 1 think that was the re<l-letter 
day of our lives. It meant everything to 
us. It meant we could get married, be- 
cause Dick is prouder than a couple of 
Lucifers, and he wouldn't have wanted to 
marry if he hadn't been in a position 
to earn as much as I did. Of course, even 
now, Dick doesn't make as much money as 
I do, but this work he is doing at a smaller 
.salary is just like an investment that will 
))ay dividends in a coui)le of years." 

"Is it true you nearly sacrificed a big 
job at a salary of $1500 a week to run 
down and see Dick when he was making 
'Wings' ill Texas?" I pried on relent- 
lessly. 

"Sure," laughed Joby. "Why not ? I 
hadn't seen him in a coui)le of months. As 
it was, after taking that long trip down 
there, I only got to spend a half day with 
him. The darn old studio wired for mc 
to be back and ready to start work in a- 
couple of days." 

■^'ou got the idea that for a nickel she 
would have thrown over the dirty old job 



from f'i.iyc Ai) 

and stayed down in Texas. But she 
didn't. With much reluctance she came 
home — to her own work. 

Dick of All Trades 

"'T'liK wonderful tiling about Dick's 
future," v\ent on Joby before 1 could 
get my breath, "is that he isn't limited to 
one particular kind of role. He is as good 
in a couple of comedies he has made with 
ICsther Ralston and Clara Bow as he was 
111 the dramatic scenes of 'Wings.' I've 
cut out all of Dick's clippings from the 
New ^'ork i)apers." 

"Hey !" I cut in, "I know all about how- 
well Dick is getting along. What about 
yourself? What have you been doing?" 

"Oh, I don't know." said Jobyiia care- 
lessly. "I work most of the time in 
'<|uickies' and I've done a couple of pictures 
for De Mille's studio and a few things like 
that," registering about as much interest 
in her own atTairs as most people do about 
someone else's. "Dick is .going to be co- 
starred in a picture with Nancy Carroll. 
There is goin.g to be a pre-view of his 
picture. Want to go with us?" 

I said, ".Sure. But when is something of 
yours going to he pre-viewed?" 

"I don't know" she answered, "I've been 
so busy getting the house finished anil 
entertaining Dick's family I haven't had 
an awful lot of time to look them up." 

I made one final, weak effort to learn 
something about her. 

"I haven't any particular plans for 
right away" she admitted. "You see, 
Dick is going to be on location in Mexico 
and I'm going down tiiere with him." 



86 



Mister and Missus 

(^Continued front page 51) 

more than a million — but she still calls 
liini "Mr. Ginsberg" in tun and he still 
iall> her "Honey" in public and "Baby" in 
private. 

Jack Dcmpsey is ex-heavN-weight cham- 
pion of the world — over six feet tall. 
lie has the world's broadest shoulder^ 
and hardiest handclasp. His hobby is 
horses and horse-racing. Yet he's often 
as bashful as a boy and always as moral 
as a Puritan. Mrs. Jack Dempsey is a 
famous screen siren with an exotic beauty 
that makes her look as dangerous as dyna- 
mite. In reality, she's as modest as Lillian 
(iish, and she'd rather play in comedy 
than seduction drama, any day. The 
Dempscys iwlieve in companionship rather 
than companionate marriage and have 
never been separated for m<jre than a week 
ill the three years since they were married. 
The only thing she doesn't like about being 
Mrs. Jack Dempsey is the fact that movie 
directors are always too polite to her. 
They can't seem to forget that she's the 
cherisiied wife of Jack l)emp>ey and that 
Jack Dempsey, though retired, is still a 
good fighter. 

Jack is old-fashioned. Theoretically he 
firmly believes a wife's place is in the 
liomc. But lie married a modern girl who 
just as firmly believes that a woman is 
entitled to a career, .\fter they were mar- 
ried, he asked her to give up the screen. 
She said she'd try. They went to Kurope, 
where they were feted like visiting roy- 
alty. Most girls would have been ecstatic — 
glamour, money, admiration. Estelle Tay- 
lor was miserable. .She loved her hus- 
band, but she missed her work. When 
they came back, she announced she would 
go back to the studios. She could no more 
retire than she could take up tatting. 
She's much too vital to spend her life 
staying at home. 

Prouder of Her Than of Himself 

LJf.'s proud of her success and says: 
^ "Estelle is the star of this family." 
He thinks he's a terrible actor and still in- 
sists so even after an offer from a producer 
to do a little acting on Broadway for four 
thousand dollars a week. He has acquired 
poise and polisli ; his sartorial ensemble is 
perfect ! He's at ease in drawing-rooms 
and on a dance-floor. He is generous to 
a fault, a keen judge of character and a 
bit of a wit. But he has not yet lost that 
ingratiating small-boy look. Restless, 
graceful as a panther, he is seldom still. 
He swims, he plays golf, he exercises. 
Estelle, on the other hand, admits she is 
lazy. She prefers browsing with a book 
to swimming. She'd rather ride than 
walk. But she has an extraordinary ca- 
pacity for hard work. When she is inter- 
ested in a role, as she was in tiie Lucrczia 
Borgia of "Don Juan," with Barrymore, 
as she will he in the forthcoming natural- 
color filming of "Cleopatra." she is inde- 
fatigable. She is temperamental in the 
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two-dollar string of red beads. She wears 
'em because she likes "em. She has a ruth- 
less sense of humor. She is a Madame 
Recamier to lo(jk at, but a Madame de 
.Stael to listen to, and her humor spares 
no one, including herself. 




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Looking Them Over Ouj 
Hollywood Way 

(Coiitiiiiird from page 61) 

someone had presented them. "So kiv-Ieefl 
Never have Loopy .seen such luv-lee lady," 
then "Take off your hat, pleez !" she 
hegged. 

Mary protested that her hair wasn't ar- 
ranged. She was both flattered and em- 
barrassed. 

With one swoop of her own graceltil 
hands, Lupe reached over and jerked otT 
Mary's hat. ■'Ahhhh," she breathed. ■ 
"when a giirl i.s so bee-ii-ti-fol as yon. the 
hair-leex is nawthing." 

Now, who could get mad at that? Sun - 
ly not Mary. 

Never Kiss Strangers 

|r was the first day of shooting on Rod 

I. a Roctine's new picture: 

Sue tared, the leading lady, wandered 
c.iito the set. She felt rather out of 
things. She had never met Rod and she 
knew the director only ■ slightly. Pretty- 
soon they called on her. "Now in thi> 
first scene," explained the director, "you 
are to kiss Mr. La KoC(|ue passionately." 
Sue looked embarrassed. Then she got 
her wits together. 

Sue turned to Rod. "My name is .Stic 
Carol, Mr. La Roccpie," she said, putting 
out her hand. "I thought maybe you 
wouldn't mind meeting me before we 
kissed." 

Living on Lita or Nothing 

IiTA (ikAY (ii-mm-im's elaborate new home 
in Beverly Hills was completed on the 
day that Koy d'.Arcy declared bankruptcy. 
And they say Lita and Roy are engagetl \<> 
bf married. Just how Koy is going lip 
run Lita's home fin $300 ( which he claims 
is all he has in the world) is a little prob- 
lem that will probably keep him occupiefl 
in his spare moments between pictures. 

His Lowell Reputation 

'T'liK day (Vuinne ( Irittith's picture, "The 
■^ (Jardeii of I'.den," opened at the Kgyp- 
tian Theater the billing read: 

Coriiinr (iriffilli in "The Garden of 
I'.den" wit/t J.owrll Slirniiaii. 

The next night it was changed to : 

Ciirliiiii' (iriffilli in "The (jardeii oi 
l-'.den" u'illi Cliarlit' Ktiy. 

Maybe they thought Charlie soiiiid<<l 
siifer. 

Begging His Leave 

A L Roi.Ki.i. was cornered one day by an 
^~^ other director who was braggin;. 
about the many olTers he was receivin 
from other studios. It .seemed that ever 
prodticer in Hollywood was clamoring lor 
his services — to hear him tell it. 
"So I hear," drawled .\1. 
The other fairly beamed with pleasure 
"I hear Paramount has been trying for 
years to get you to go with Metro-tiold- 
w\n-Maver." 



p.w WuAY and John 
* married and no one 
prised except a lew 
thought I'atsy Ruth M 
ders would be married 
year — and yoit know 
year's engagements. 

I'ay and her new g 
in a romantic little 
while they were botl 
"The First Kiss" com 



Ruthless John 

Monk Saunders are 

is very much sur- 

people who had 

iller and Mr. Saun- 

lUit that was last 

about Pat and last 



room were married 

town in Maryland 

1 1)11 location with 
pany. 



M 



A Serbian Cinderella 

{Ccntinurd from p^vir 65) 
Like Greta and Lya 

'T'hf. cast of her features is like Garbo's. 
^ She has, too. an expression ahniit the 
ejcs hke Lya flc I'litti. She looks like ii" 
one else on the screen. She is a distinct 
type, tnll-lippcd and fnll-figured, yet with 
patrician qualities. She really looks patri- 
cian (tlie coronet on the luggage did not 
influence inc). 

She has an intense curiosity about 
America and .Americans. She wants to 
dine on the foods we eat, she wants to huy 
American clothes, she wants to learn 
American slang. So far she has done 
well. 

The most useful word she has been 
taught is "O.K." When she learns "X.G.." 
she will find iierself a social success in 
Hollywood. That's a town where she 
doesn't need to speak Knglish, anyhow. 
She has also been initiated into the mys- 
teries of the word "whoo])ce.'' 

She has the Continental languor that be- 
lies her auburn liair and ha/.cl eyes. Her 
French vocabulary docs not include t'l/c- 
vinil. and I have visions of directors 
jumping up and down on their hats when 
she keeps them waiting on the set. lan- 
guor, however, has helped some of our 
leading foreign actres>es into their niches 
in the cinematic hall of fame. 

I ler complexioii is like a child's. She 
arrived in New \'otk .wd.c powder, rouge, 
lipstick or mascaro. Slie did not even 
own a ifowder puff. This again is the in- 
fluence of her mother. "'She wants to 
Ivfcp me like a baby," she explained in 
IriMch, "but I am not a baliy. I would 
put rouge on my cheeks, but I cannot find 
;i place to put it, tiie checks are so red 

1!' iV^." 

I",va has a minrl rpiitc her own. Xolh- 
mil; could induce her tf) say that she liked 
New York, not even the indignant frowns 
of the nc^vspaper reporters. She difl not 
like New York. It was too big. too dirty. 

She issues other ultimatums in her low, 
foreign voice. "We si)eak l-'nglish nr>w," 
she says. And it is surpri>ing to hear the 
\arious assortments of wnrds that she 
picked up on the boat. 

.She was fright fully put out that she 
was not to see Calvin Coolidgc. .She had 
heard he "liked fie movie stars." This 
shows you the sort of talk that is bandied 
abnut abroad. 

^ es. she had heard of many great peo- 
I)Ii in .\merica. The burgomeister. Jimmy 
Walker, lie likes the movie stars, yes? 
Ktit there was no burgomeister in Holly- 
wood? No, she had not heard of Will 
I (ays. 

.She would- like to see American the- 
aters. Dancing she wf>nld like, because 
she had studied flancing in N'ienna for six 
>ears. but had never done it professionally. 
Singing she would not like. The opera 
was so — she did not know. The opera, it 
appears, bores her. The fiance classi(|uc, 
that she likes. Jazz? No, it makes too 
nmch noise. 

.\ll of which is an attempt to give you 
a picture f)f the newest Cfviteiuler for a 
llollywoofi crown and all of which- gives 
>(iu no picture at idl, for blva is a mass of 
conlraflictions. ami after six months in 
Hollywood she won't be the same girl 
.uiyhow. 

At present she is well Cfiuippcd. for she 
l)as youth, sfiphislicalion. languor, poise, 
111 accent aufl a coronet on her luggage. 

\dded to this, she knows how tti sav 
r,K." 
Ihc gal will be O.K. in the film capital. 



Famous Feet 




how they're kept 
iree irom corns 

lACQUELINE LOGAN'S 
YamoNS Yeet 

There are more than a million 
walking advertisements for Blue= 
jay . . . walking in comfort, thanks 
to Blue=jay. 

But the most enthusiastic of 
Blue=jay's friends are the great 
hosts of dancers, screen stars and 
athletes who keep their gifted 
feet free of corns with this cool 
and velvety toe-cushion. 

These and other Blue=jay friends will 
get a pleasant surprise from the new 
and improved Blue=jay in the new- 
package, now at all drug stores at no 
increase in price. For calluses, and 
bunhns use Blue- jay Rmiioii and Callus 
Plasters. 

T^Hi^ nerw 

Blue jay 

T H K S A F K AND G F N T L F. 
\C \ \ TO END 



CORN 



e P S: B.. 1918 




Charming Hair 

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lu-.ii no* .V ii.i> li»»'- <" Hi'-" '"■■ » 

-iri-pii slorj- Hlilrh ninilil l>ul yo\i on m*v 
-Heel. If nnl.v you i,iiilil plan It propfrly 
»ml so Kain llip alltnlloii of motiiic pli- 
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Hiul monpy liar-k nffpr. 

THE HOLLYWOOD 
ACADEMY 

Execurive Offices, 

Dept. I. A S5 West 42nd St. 

New York City 

1 pprorrit .if n < orrf^pontirnre School 
I M.Irr Uu Laws oS L'tc .S<.i»p 0/ N. V. 

80 



He Gives You 
A New Skin 

Smooth, Clear and Beautiful 




r^^ 




On Any Part of Your Face, Neck, 
Arms, Hands, Body 



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Y\7HAT would you say if you awcke some 
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It is all explained in a new treatise called 
"BEAUTIFUL NEW SKIN IN 3 DAYS," 
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I f pleased, tell your friends about it. 



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al law 





C. L. "CALOSTRO" Boi 76 

Mfaihlngton Bridge Station 
NEW YORK CITY, N. Y. 



Photo by Sarony 

(Continued from page 78) 

anid that she was supposed to wear tights 
and pose as Cupid. 

What a Career Means 

"I SOMETIMES wonder," says Louise 
Dresser, "whether girls nowadays 
would be willing to go through what I 
did — go without enough food, live in an 
attic, wash out their own clothes. I some- 
times wonder whether there are girls in 
Hollywood now who want to succeed in 
the movies enough for that. The other 
day I read in the paper about one of the 
new young stars who is divorcing her hus- 
band, not because he hadn't been good to 
her but because 'her career meant more to 
her than love.' I felt like going to that 
poor silly little girl and telling her that she 
hadn't any career — that she hadn't the re- 
motest idea of what a career meant. These 
pretty youngsters who break into the 
movies for a few months or a few years 
to talk about their careers. Norah Bayes 
could have told them what a career was ! 
So could any of us old-timers." 

It is, for instance, the thing that kept 
Louise Dresser standing, quivering and 
shrinking in the agonizing ordeal of 
tights before the leering audience in the 
cheap Boston burlesque liouse that night 
thirty years ago. It is the thing that Paul 
Dresser, a great mountain of a man, saw 
in a pair of wide blue eyes when he 
heaved his three hundred pounds of bulk 
around at his desk to stare at the girl who 
had just told him her name. 

"Louise Kerlin?" said the greatest song 
writer of his day, "not related to Billy 
Kerlin who used to be conductor on an 
Indiana railroad?" And when she an- 
swered falteringly that he had been her 
father, he turned to the telephone and 
called up Chicago's biggest newspaper. 

"I just wanted to notify you," said he 
deliberately, "that my kid sister, Louise 
Dresser, is making her stage debut Mon- 
day next, singing my songs !" 

With these words Paul Dresser be- 
queathed his name and influence to the 
daughter of the man who had befriended 
a fat candy boy on a train from bullying 
brakemen years before. Singing his latest 
ballad, "My Gal Sal," Louise Dresser be- 
came a sensation overnight and for a 
dozen years was the darling of Broadway. 

"What I never have been able to under- 
stand," says Louise, "is why every one 
looks on theatrical people as different. 
There's a sort of luritl glamor about stage 
life to outsiders. I — resent it for the splen- 
did people I've known in the theater ! I 
believe honestly I have lived about as I 
would have lived if I had been a teacher or 
a writer or any other kind of a woman. 
I've always had a home for one thing — 
and they say actresses haven't homes. 
When I was making my biggest success 
on Broadway, I sent for my mother and 
we lived in an uptown flat. When I was 
on the road, I carried things in my trunk 
to make the hotel rooms look homey, and 
that's why I have stayed so long in the 
movies, because I can have a home here." 

Louise Dresser, the actress, has never 
submerged Louise Dresser, the woman. 
Those strong capable hands of hers know 
how to scrub floors and cook and dig a 
garden and arrange her big comfortable 
rooms, which owe nothing to decorators. 

"Sometimes I tell Daddy we ought to 
sell and move into a modern bungalow," 
smiles Louise, "but I don't know as I'd fit 
into a Spanish hacienda. And my old 
stage photographs wouldn't look at home 
in one. I told you I was old-fashioned." 




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90 



Are the Children of the 
Screen Stans Normal? 

{Coiiliiiiicd fioin p,i(/r R\ ) 

it is for yoIlI1g^ter^ In riiii aii'l play withoul 
worrying ahoiil ihcii ' apptaramc, \'\r 
notirerl that it's the play snapsliots of them, 
digging in sanH piles, dirty and tonseled. 
freckled and hnnied. whirh arc enlarged 
for framing on the living-room mantel. It 
is not the photograph of them in their hesl 
rlothes and elahoratel\ enrlcfl. Movie 
parents have heantiftil children because 
they insist on hcaiily. It is a primary 
object in their profession." 

Children of happy marriages — love chil- 
dren, as the saying goes -arc traditionally 
more favored than other <hildren. And 
the cynical might say that movie children 
are all fortnnate ii\ that way, because, 
when love Ries on( of the window in a 
movie bouseh(>ld, hnsband and wife walk 
out of the front door to the nearest di- 
\orce court I 

Therefore, when the stars refuse to pub- 
licize their children, it does not mean that 
they are cross-eyed or luiw-legged or 
stutter! The i)robahilities — take it from 
Hr. Karl Tarr are that these are as 
sturdy, good tempered, good looking boys 
and girls shut away behind the high garden 
walls of movie- stars' palatial homes as 
there are outside these walls. 



The Celluloid Critic 

(Contiiiiird jiow pui/c 5.V) 

man's box ofHce than a Hock of films 
which have mas(|ucradefl as top-notchers. 

I-I cf)ntains a first -rate idea, though the 
Tolstoi mental processes are missin<;, nat- 
urally. I find it woven around the theme 
of a youth who overcomes his inferiority 
complex. He is goaded into action by the 
( os.sacks. To establish bis birthright he 
slays several Turks and wins the girl. The 
scenes are iiuncfuated with an assortment 
of thrills, one in particular showing a 
mountain slide which carries a kick. 

There are plenty of fights, which to- 
gether with the horsemanship of the Cos- 
.sacks and the vehement love-making of 
the (iilbert will keep one from looking 
around for that nearest exit. 

The star is wide awake again after his 
innings of passion in "Love." And Renee 
Adoree, Ernest Torrencc and Nils Asther 
lit right into the scheme of things. This 
sua'-hbuckling yarn looks like a tip off of 
a tlock of imitations in the offing. 

Take Thai, and That and Thut. 

AN old-timer in theme and characteriza- 
^^ tion bobs up in "The Michigan Kid." 
With every clement running true to 
form — with the figures neatly pigeonholed 
in the plot of the picture, I can only give 
it a fair mark. It'.s a story that has been 
taken to the movie well too often and ex- 
ploits an ojien-hearted gambler, another 
who's not built that way — and the girl. 
The men are in the Klondike, and both 
are ignorant of each other's identity 
though they spent their boyhood together. 
It all climaxes toward the moment when 
the s(|uare-shooting gambler wins over his 
rival. To accomplish the romantic ending 
the lovers escape from Mother Nature's 
villainy when they ride to safety over a 
waterfall and emerge from a forest fire. 
The yarn is one of (hose heroic things 
which makes the honest youth perform 
miracles in rescuing the girl from his 
hated rival. Conrad Nagej. Renee Adoree 
and I.Ioyd WhitUick have the assignments. 



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■ ■■■■■■ ■,■■.■: 




91 




**We can get seats for that picture across the street'* 
"I'D RATHER STAND ON LINE AND SEE THIS 
METRO -GOLDWYN- MAYER PICTURE- 
THEY'RE ALWAYS GOOD." 



ISN'T IT 




JOHN CILBERT 

in 
"The Cossacks" 




MARION DAVIES 
in 



in 
"Her Cardboard 
Lover" 




JOHN GILBERT 

"Four Walls" 



THE 
TRUTH! 



YOU'RE always sure 
OF seeing 
THE biggest stars 
THE finest stories 
WHEN your theatre 
SHOWS you 
vl M - G - M pictures 

BERT 




WILLIAM HAINES 

in 
"Telling ihe World" 




WHITE SHADOWS 

IN THE SOUTH SEAS 

WITH 

MONTE BLUE and 

RAQUEL TORRES 



METRO-G 

"More Stars than there are in Heaven'* 












LEO'S 

QUESTION 

CONTEST 


Leo, the Metro -Goldwyn- Mayer Lion, is 
staging a question contest of his own. He 
offers two $50 prizes — one to the cleverest 
man, one to the cleverest woman, for 
the best answers to his questions. ^A 
And furthermore Leo will present W^6 
autographed photographs of him- ^ ^- 
self for the fiftv next best sets of W 
answers. his'^mirh 

LEO'S QUESTIONS 

1 Name three famous animals in Metro-Goldwyn- 
•l Mavcr pictures and Hal Roach comedies. 
■y What popular song bears the same name as a 
■^ current M-G-M picture? 

-2 VC'hich M-G-M featured player, not yet starred, 
J do you consider mo>t worthy of stardom? Tell 
why in not more that\ 75 words. 

4 Name three famous M-G-M "teams" of actors. 

5 What are five of Bill Haines* picture successes? 
Write your answers on one side of a single sheet 
of paper and mail to M-G-M, l';42 Broadway, 
New York. All answers must be reccivc-d by Sep- 
tember 15th. Winners' names will be published in a 
later issue of this magazine. 

Note: If you do not attend the pictures yourself you 
may question your friends or consult motion picture 
magazines. In event of ties, each tying contestant 
will be awarded a priie identical in character with 
that tied for. 

Winners of Contest of June, 1928 
Mrs. John D. Iesk, 214 E. 51st Street. New York City 

Charles Chirchili , V. O Box 316 
Car>oi"i C^it\, Ni-\ nd;i 



N-MAYER 



92 



EDWARD I.AN'r.KR TKINTINO CO., INC., 
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iier 

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At all toilet goods counters. 



MlPJiP^^^iqil 



His first love 




im 



Mother — radiant and youthful, with the charm of that school- 
girl complexion. This simple daily rule is known to thousands: 



Youth is charm, and youth 
lost is charm lost, as every 
woman instinctively realizes. 

To keep youth, keep the 
skin clean and the pores open. 
Banish artificial ways in skin 
care. Nature's ways are best. 

Use soap, but be sure it is 
a soap made basically for use 
on the face. Others may 
prove harsh. That is why, 
largely on expert advice, 
women the world over 
choose Palmolive for facial 
use. 



w 




HAT mother's heart but quickens 
at her small son"s adoration.' 

What, in life, is sweeter than those 
worshipful eyes that follow every move 
and hang on every word? 

Keep that devotion, mother! Hold that 
love. Always be, to him, the beautiful 
princess of fairy book delight. And above 
all else, keep youth, keep beauty as your 
most priceless asset. 

That schoolgirl complexion is synony- 
mous to natural charm, today. And thou- 
sands of women, in keeping that schoolgirl 
complexion, are holding their youth 
through the thirties, into the forties and 
beyond . . . 

The daily rule in skin care that 
countless thousands know 



Keeping the skin cleansed, the pores 
open, with a pure beauty soap — a soap 
made for one purpose only and that to 
guard the skin is the important thing 
to know That is Nature's beauty secret. 



Wash your face gently with soothing 
Palmolive Soap, massaging its balmy lather 
softly into the skin. Rinse thoroughly, 
first with warm water, then with cold. If 
your skin is inclined to be dry, apply a 
touch of good cold cream — that is all. 
Do this regularly, and particularly in the 
evening Use powder and rouge if you 
wish. But never leave them on over night. 
They clog the pores, often enlarge them 
Blackheads and disfigurements often fol- 
low. They must be washed away. 

Avoid this mistake 

Do not use ordinary soaps in the treat- 
ment given above. Do not think any green 
soap, or one represented as of olive and 
palm oils, is the same as Palmolive. 

And it costs but 10c the cake! So little 
that millions let it do for their bodies 
what it does for their faces Obtain a cake 
today, then note the amazing diflference 
one week makes. The Palmolive- Peet Co., 
Chicago, Illinois. 



10 



Palmolivt Soap is uniouchid by human hands until 
C you break tht wrapptr — // it nentr sold unwrapped 



PALMOLIVE RADIO HOUR— Broadcast every Friday night-from 10 
to 11 p. m., eastern time; 9 to 10 p. m., central time— over station WEAF 
and 32 stations associated with The National Broadcasting Company. 

KEEP THAT SCHOOLGIRL COMPLEXION] 



MfS;nON PICTURE 



f «' 




October 



t 







SSIC 






25<^ 




^^i±i. 



^L^^^a-a-i^i^, 



w Walker 
dorc Roberta 
)t Mamas 

and 

Papas 



t^ 



& 



onTessions o 



JJO 



anc 



hp SwpptI 



Keep your hands lovely by protectinJI 
them this ^svay all day long ... I 




gesture mat; 



onQer in ike memorp inan wore 



Few hands these days can be kept in 
idle luxury for their beauty's sake. For all 
day home-keeping hands are doing things ! 
How is one to protect them, then, to 
keep them charming— and young? 

Has it occurred to you that work may 
not be as hard on your hands as the use 
of harsh, common soap? Crude soap robs 
the skin of its natural oils, parching it 
into tiny lines. That is why so many 
hands look older than they should. 

To keep your hands young, why not 
use Ivory whenever your hands must 



touch soap? Ivory is so bland a toilet 
soap that doctors recommend its use for 
very sensitive complexions. Naturally, 
then, it will protect your hands, too. 
Gentle as Ivory is, don't be afraid to 

Sut it to all sorts of tasks— from washing 
ishes to cleansing bathroom enamel. 
Launder your printed tub frocks and 
fine tinted linens with Ivory, to keep 
their colors like new. Clean your painted 
furniture and woodwork and expensive 
linoleum with Ivory, too, to protect their 
glossed surfaces. 



But most important — Ivory guards your 
hands so that their every gesture may 
tell a story of youthful charm! 

For your hands' sake, isn't it fortu- 
nate that Ivory is so reasonably priced? 

PROCTER 8c GAMBLE 

Free— a book on charm. "What kind of care 
for different skins? For hands? Hair? Fig- 
ures?" You will find answers to questions like 
these in a free little book— "On the Art of 
Being Charming." Just send a post card to 
Winifred S. Carter, Dcpt. 43-JF, Box 1801, 
Cincinnati, Ohio. 




vory 



IS 



u 



mi 



lo everyikm^ il touches 



L 



99^VlOo7oPURE 
••IT FLOATS" 



e 1928, p. AG. Co. 





IPUBEDIIEStll ^ 
BARRY NORTON 
ALBERT GRAN 
^,. IfCIEfl LITTIEEIELD 

^yill^l ^jyj^tor/byEDNAFERbtR. 

ALoveHungiy StageStarCutstheApronStringsofHer Managing Mam» 



With mother love as its background — a sublime, 
enduring, unfaltering devotion of a strong-willed 
mother for her child *s future — and blinded by 
an overmastering, consuming passion to some 
day lift that child to the very highest pinnacle of 
fame on the stage— "MOTHER KNOWS BEST" 
unfolds an epic story of life behind the footlights 
with a thrilling dramatic intensity and realism 
seldom portrayed upon stage or screen. 

Mother love never burned more brightly in a 
human breast than in the heart of "Ma Quail". 



But love sometimes burns so fiercely that it con- 
sumes itself or the object of its affection. 

With Madge Bellamy as "Sally Quail" and Louise 
Dresser as "Ma Quail", you witness in "MOTHER 
KNOWS BEST" the most human, most poig- 
nant characterizations that the screen has re- 
vealed in years. 

This amazing and all too true story of stage life 
is fascinating, absorbing and entertaining. Watch 
for it at your favorite theatre and by all means 
see it. 



JGBLYSTONE Production 



4NOTHEI 



fOX' 



MASTCKI*ICCC 






T 




s, 



EE a Paramount Picture tonight! See the 
most popular stars of the day! See them in these new pictures attuned to these 
changing times, these fast-paced days! Ask your Theatre Manager for the dates! 





'THE 1¥EDDIIV« inARCH" 

Directed by and starring Erich von Stroheim, 
with Fay Wray and ZaSn Pitts. Many of the 
scenes are in Technicolor. 

•^'FORGOTTEIV FACES" 

With Oive Brook, Mary Brian, William 
Powell, Baclanova, Fred Kohler, Jack Luden. 
Victor Schertzinger Production. 

''DOCKS OF j¥EW YORK" 

Starring the popular favorite George Bancroft, 
with Betty Compson and Baclanova. Josef von 
Sternberg Production. 

''THE WATER HOL.E" 

From a story by Zane Grey. With Jack Holt 
and Nancy Carroll. F. Richard Jones Pro- 
duction. Many of the scenes in Technicolor. 

"SAWDUST PARADISE" 

Starring Esther Ralston, the Blonde Goddess 
of the screen. With Hobart Bosworth and 
Reed Howes. Luther Reed Production. 



"THE FliEET'S I]¥" 

Starring Clara Bow, the most popular girl 
on the screen, with James Hall. Malcolm St. 
Oair Production. 

"REGGARS OF I.IFE" 

With Wallace Beery, Louise Brooks, Richard 
Arlen. William Wellman Production, from 
Jim Tully's saga of Hobohemia. 

"THE ]flATI]¥G CAIiL" 

By Rex Beach. Starring Thomas Meighan, with 
Evelyn Brent and Renee Adoree. Directed by 
James Cruze. Produced by Caddo Co. 

"THE FIRST KISS" 

Starring Paramount's Glorious Young Lovers, 
Fay Wray and Gary Cooper. With Lane 
Chandler. Rowland V. Lee Production. 

"JUST inARRIED" 

From a story by Anne Nichols, author of 
"Abie's Irish Rose." Co-starring Ruth Taylor 
and James Hall. Frank Strayer Production. °^^ 






HEART 

See and hear a Paramount Picture tonight! In theatres equipped to show 
"sound" pictures Paramount now presents the first quality *'sound" pro- 
gram. Paramount Features, Paramount News, Paramount-Christie Comedies. 
Stage Shows on the Screen — all in sound, all Paramount! Watch the news- 
papers for theatre announcements of Paramount Pictures in sound. Silent 
or with sound — "if it's a Paramount Picture it'* the best show in town!" 



Paramount 9 xricUwe^ 





PRODUCED BY PARAMOUNT FAMOUS LASKY CORPORATION, 

4 




ADOLPH ZUKOR. PRES.. PARAMOUNT BLOC, NEW YORK 



9^0TI0K 'PICTU'RE 






Vol. XXVIII 



OCTOBER, 1928 



No. 2 



Notable Features in This Issue: 

CONFESSIONS OF A STAR Gladys Hall 16 

THE HAM OF FRIENDSHIP Dunham Thorp 18 

WINNING IN A WALKER Ruih Biery 21 

ALIVE AND STICKING Dorothy Calhoun 22 

HOT MAMAS AND PAPAS Helen Louise Walker 28 



The Classic Gallery 11-14 

Lina Basquette, May McAvoy, Dorothy Sebastian, Nick Stuart 

The Victor of Trafalgar Surrenders — picture page, corinne Griffith and victor varconi ... 20 

Showing His Wild Oats — picture page, buster collier and renee adoree 23 

Holl>'wood Horrors — cartoon • h. o. hofman 24 

Stop Me, If You've Heard This Dorothy Spensley 25 

Marie-and-Ken Dorothy Donnell 26 

Nautical But Nice — picture page, louise brooks 27 

What Should a Poor Girl Do Dorothy Spensley 30 

Mae's First Mother R6le — picture page, mae jiurray, prince mdivani and child 32 

The Troubadour of Silent Song Herbert Cruikshank 

Secret History of the Month Cedric Belfrage 

Jake With Jack — picture page, john gilbert and eva von berne 

Evil As You and I Gladys Hall 

Little More To Be Shed — picture pages 

Uncle Carl's Gabbin' Cedric Belfrage 

Twice As Pretty As Usual — picture page, june collyer 41 

Kute and Kool and Kalm Dorothy Manners 42 

Sainting Their Faces — picture page, anita page and baclanova 43 

Classic's Family Album — picture page, norma talmadge 44 

Broadway Mobilizes for the Talkies Louis Reid 48 

Chow Time — picture page, emil jannings 50 

The Home-Loving Home- Wrecker Carol Johnston 51 

A Nude Development — picture page, nancy carroll 54 

Reggy Spank Dorothy Manners 55 

Why Chinamen Don't Leave Home — picture pages 56 

This Little Star Went to Market BeUy Standish 58 

An Outstanding Figure — picture page, carol Lombard 59 

The Spirit of the Old Masters — picture page; "the awakening" 62 

The Menacin' Man Herbert Cruikshank 63 

Pointing With Pride — picture page, pauline starke 64 



33 
34 
36 
37 
38 
40 



The Classics Famous Departments 

They Say — Letters from Classic readers 6 

Our Own News Camera — The film world in pictures 45 

The Celluloid Critic — Sorm current films in review Laurence Reid 52 

Looking Them Over Out Hollywood Way — Newsy close-ups Dorothy Manners 60 

Cover portrait of Greta Niasen by Don Reed from a photograph by Russell Ball 



Laurence Reid, Editor 

Colin J. Cruickshank, Art Director 

Classic comes out on the 12th of every month, Motion Picture Magazine the 28th 



MOTION PICTURE CLASSIC is publithed monthly at 731 Plymouth Court, Chicago. 111. by MOTION PICTURE PUBLICATIONS. Inc. Entry for 
transfer as second class matter from the Post Office at Jamaica. N. V. to Chicago, 111. under the Act of March 3rd. 187Q. is pending. Printed in U. S. A. 
Copyright 19J8 by MOTION PICTURE PUBLICATIONS, Inc Single copy 35c. Subscriptions for U. S., its possessions, and Me.'cico $3.50 a year. 
Canada S3.00, Foreign Countrie* $3.50. European Agents. Atlas Publishing Company, 18 Bride Lane, London, E^ C. 4. George Kent Shuler, Prea. & 

Treas.; Duncan A. Dobie Jr.. Vice Pre*., Murray C. Bernays, Secy. 



JOHN Babrymore. a former stage player, 
has been engaged by Warner Brothers 
to appear in their talking pictures. 



Tiffa 



lOY D'Arcy will again bring his teeth, 
monocle and art into action in a 
Titfany-Stahl photoplay, "The Family 
Row." The star is Claire Windsor; the 
director is James Flood. 

DOUGLAS Fairbanks, the elder, has be- 
gun work on his new production, 
' 'The Man With the Iron Mask. 

THE mo\nes take on an educational aspect 
with the appearance of Sally O'Neill 
and William Collier, Jr. in "The Floating 
College." Matriculated also in the cast are 
Georgia Hale, Harvey Clark and Georgie 
Harris. All presumably are candidates for 
A.B. degrees. 



of thf 



B. Warner, noted in HoUy- 

wood as the only li\ing man 

oi that name who is not a brother, 
has been cast in a picture spon- 
sored by those who are, entitled 
"Conquest." Monte Blue and 
Lois Wilson are others prominent 
in the group of players. 

IiLYAN Tashman, otherwise 
J Mrs. Edmund Lowe, has been 
chosen by Paramount to personify 
a female menace in a sound pic- 
ture co-featuring Nancy Carroll 
and Richard Arlen. The director 
is a woman, Dorothy Arzner. 

1YA De Pum has just sacri- 
j ficed twenty-foiu- pounds in 
weight for her profession. Before 
making "The Scarlet Lady" for 
Columbia she bounced the pointer 
of the drug store scales up to 132. 
Nov^ the best she can do is 108. 

DOUGLAS MacLean, after a 
period of managing stars, 
blooms again as an actor in a 
Paramount sound picture named 
"The Carnation Kid." His lead- 
ing woman is Frances Lee; and 
important in the cast is Francis 
McDonald. E. Mason Hopper 
will direct. 

RUTH Chatterton, famous as 
a Broadway actress for her 
part in "Daddy Long-Legs," makes her first 
screen lx)w as leading woman to Emil 
Jannings in his forthcoming production. 
"Sins of the Fathers." Ludwig Berger 
will direct them. The author is a young 
graduate of Columbia University with a 
penchant for phonetic spelling: Norman 
Burnstine. 



married to him than Carl L.aemmle, father 
of Carl Laemmle, Jr. and president of 
Universal Pictures, signed him as special 
representative. Paul will set forth soon for 
a business tour of Europe that will last a 
year. 

DOROTHY Revier's fide to prominence 
bids fair to rival Paul's. Here she is 
all at once co-starring with Jack Holt in 
"Submarine," and signed, too, for the 
second lead in Douglas Fairbanks' new pic- 
ture, "The Man With the Iron Mask. ' 

ANOTHER of those RviatioD uniform 
photoplays, ' 'Hell's Angels." takes the 
air soon, equipped with both sound and 
color. The usual cast — Ben Lyon, Greta 
Nissen, James Hall and Thelma Todd — will 
enact the story. This concerns, we believe, 
some part of the world war 




H' 



[earse and rehearse seems to be the 
slogan upon which Richard Wallace 
has patterned his career. Formerly an 
undertaker, he is now director of a new 
Gary Cooper -Nancy Carroll film to be 
known as ' 'Shop Worn Angel." 

ENGAGEMENTS of all softs fall thick and 
fast to the lot of Paul Kohner. No 
sooner did Mary Philbin contract to be 



The biggest quack in Hollywood: Lon Chancy as a side- 
show freak, half-man, half-duck, in a forthcoming picture 
entitled "West of Zanzibar." 



EVERY lime Walter Byron, recently im- 
ported from London by Samuel Gold- 
wyn, looks at a picture of Gloria Swansbn, 
he starts singing ' '1 gotta go where you £u-e." 
This melodious exuberance is inspired by 
the fact that he has been engaged as leading 
man to her in "The Swamp." The picture 
will be directed by its author, Eric von 
Stroheim. 



M' 



I ARY Brian has entered .and Louise 
Brooks departed the cast of the forth- 
coming Paramount production of the S. S. 
Van Dine detective storv, "The Canary 
Murder Case." And in t^is, too, William 
Powell has for the first time in many moons 
a favorable character to show the worlrl. 
He will enact the part of Philo Vance, the 
suave sleuth. 



JIM TuLLY, author, playwright and press 
agent ex-officio to John Gilbert, will, 
now that he has completed tit ling his own 
story, "Beggars of Life, ' go to England and 
points east. In the course of his journeys 
he intends to interview George Bernard 
Shaw, Freud, Maxim Gorky, the former 
Kaiser, and, if he can find lime for it, 
Mussolini. 

ANY story having to do with the Lone Woff 
. requires Bert Lytell, who has already 
scored in nearly a score of them. He will 
have the principal but not the title role in- 
"The Lone Wolf's Daughter," being made 
by Columbia, with Frank Capra directing. 

CLYDE Cook and Clive Brook are two 
somewhat simileu* and well-known 
names of players chosen for parts in 
Paramount's film version of ' 'Interierence," 
the novel by Roland Pertwee. 
Other players in this will he 
Evelyn Brent, Doris Kenyon, and 
William Powell. The director is 
Lothar Mendes. 

THE respect with which the , 
Paramount officials must re- 
gard the personality of Adolphe 
Menjou is expressed in the lact 
that he will appear next in a pic- 
ture written by Ernest Vajda and 
duected by Frank Tultle. 

IN support of Ramon Novarro 
in "Gold Braid." M. G. M. 
has selected Gardener James, 
Eddie Nugent, Ralph Graves and 
Carroll Nye. George Hill will 
direct. 

AFTER a separation of ten years, 
since the making of 'Pas- 
sion," Emil Jannings and Ernst 
Lubitsch have again worked to- 
gether as star and director in the 
production of "The Patriot." 

MARIAN Nixon is leading wo- 
man to Richard Barthelmess 
in nis newest photoplay, "Out of 
the Ruins." The supporting cast 
comprises Robert Frazer, Bodil 
Rosmg. Emile Chautard, Eugene 
Pallette and Rose Dione. 

"npHE Butterfly Chaser" is 
X the name of Harold Lloyd's 
next picture, a speakie. 

AMONG the stage players that Fox has 
engaged for participation in Movietone 
subjects are Gilbert Emery, Lumsden 
Hare, Clifford Dempsey, Clark and Mc- 
Cullough, Sylvia Field, Paul Fung, Ben 
Holmes, Arnold Lucy and Helen Twelve- 
trees. 

BEN Lyon, Antonio Moreno and Martha 
Sleeper are three of the principals in 



FBO's "Air Legion 
Glennon. 



The director is Bert 



GEORGE K. Arthur returns from Scot- 
land to co-star with Karl Dane in ' 'AH 
at Sea," a story written for the screen by 
Byron Morgan. 



Want a THRILL ?. . . 

Fly with 

REED HOWES 



Here's a kick ihac will stand yuur h.ur on 
end! Take a flight with the daring "Russ 
Farrell" of the Border Patrol. Thrill to the 
chase after air smugglers and sky bandits! 
There is a half hour of high adventure wait- 
ing for you in each of the six pictures in 
this new series of air thrillers. 

Get set for the take-off! Watch for The 
Sky Ranger," 

ProduceJ hy CHARLES R. ROGERS 
and H\KK\ ). BROW N 

Irom thf famous RLSS FARRELL ' y?>/«^ 
stories iu The American Boy Magazine i> 
THOMSON BURTIS. 



as RU5?^RRELL 

AVIATOR 



/ 



// 




In these other EDUCATIONAL PICTURES, too, you 
laughs, thrills, novelty — 



LUPINO LANE COMEDIES 

BIG BOY-JUVENILE COMEDIES 

IDEAL COMEDIES 
with JERRY DREW 

DOROTHY DEVORB COMEDIES 

TUXEDO COMEDIES 

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MERMAID COMEDIES } 

ijach Wbitt Prtductitn ' 

KINOGRAMS 

Eint mmtmf Ntws Rttb 

CAMEO COMEDIES 

Lymam H. Htv/t's 
HODGE-PODGE 



C>divcnticna/ U tctuAjU^ 



OUR WORLD TODAY- /I M»J*tn Strtem M^tximi 

EDUCATIONAL FILM EXCHANGES, Inc.,£ VT.Hammens, PnutUni 
Executive Offices: Z501 Broadway, New York, N. Y. 



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Newest Style Spe cials 
Direct ft'om New York^ 





\Your Choice t W 
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deUthatexquUttely 



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«*«**'^i ^^oosit brings your 

SatUalVktbe 

luxurious f u» 

trimmings- =*1 
ihesmarttou^hea 

Viere and ^"^'T 

toacoat'sattrac 

tivencss. Then, rf 

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payl See oppo- 
site page. 



own 



£;me, the stun- 



No C.O.D. 
to Pay 

Only 1 Coat 

to a 
Customer 



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with Baby Seal Mandell 

Exceptionally smart style of all-wool 
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Lined with guaranteed silk satin and in- 
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Colors: Black or Tan. Sizes: 34-36-38-40- 
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2777 West 35th St.* Chicago 




with Manchurian 
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Colors: Black or Middy 
Blue. Sites: 34-36-38-40-42- 
44. Length about 45 inches. 
Order by No. C-26F. Term* / 
$1.00 with conpon. Then, if I 
i satisfied, $4.85 a month. ' 
I Total Price only $29.98. 

Guaranteed Silk 
^' Satin Lining 




See Opposite Page 



Months 

to 1^ Pay 





Trv this budget 

:r^oti^g became 
y'ou'Uneverxms|the 



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Broadcloth 

■♦ toith Baby Seal Mandell 

New, chic model of all-wool Broad- 
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f5sfo. C.26F 

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with Cut Side Panels 

Very becoming and popular style of all-wool 
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Colors: Tan or Gracklt Blut. Sites: 34-36-38- 
40-42-44. Ltnith about 45 inches. 
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only $19.98. 




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"Lamskin" 

with Mandell Fur 

One of the season's smartest styles of all. wool 
"lamskin", with guaranteed silk brocaded lin- 
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coat we most hear.ily recommend for its style 
and value. Notion the low price. 
Colors; Tan or Crackle Blue. Sites: 34-36-38- 
40-42-44. Lentth about 4S inches. 
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only $24.95. 



for Coupon 



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NO.C-25F 

$4.$5s 



Broadcloth 
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CtUrt: Black ar Middt 



ONo.C-26F„:;o^e:s'*^p:; 
(4.M a memik. ToUl pric« S24.9S 
Clara: Tom m OrackU mua 



Elmer Richards Co. 

Dept. 2777, W. 35th St., Chicago 

I enclose $1.00 deposit. Send me the coat I have checked 
at the left. If I am not satisfied I can return it and get my 
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$4.00 s Baatk. Total Piic* $24.9S 

<M»r%: Black tr Ttm 



Color 



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No.C-28F„:;o^: 



n 

□ No. C-30F ,. «,^^- _ 
OJ» '.PMtk. TsUl Pric* $10.98 



(£« »urt to StoU Color md Site Wanted) 



^amekin** 
witk co«p«a, 
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Ctmr%: Tarn or Midit Bi»4 
Nn r.TQF Broadcloth 

$4.«« ■ ■wtk. Total Prica, $24.98 
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CMarK Blmok or Middt BU 



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9, 




•POISE- 

Some have it and some haven'* t 

Some men can make their way on poise alone. Some 

men can't make their way for lack of it. 
And yet- 
When a man steps out of a bath it is with the feeling 

that the world is at his feet. And when he puts on clean 

linen from top to toe, he puts on with it a feeling of 

self-confidence that often will carry him far. 

There's self-assurance in SOAP & WATER 

PUBLISHED BY THE ASSOCIATION OF AMERICAN SOAP AND GLYCERINE PRODUCERS. INC. TO AID THE WORK OF CLEANUNESS INSTITUTE 

10 



f 





/ 



RassellBall 



LINA BASQUETTE 



If anyone has ever questioned her ability as a 

dramatic actress, let him see her performance 

in "Show Folks." For in that picture she most 

assuredly does 



^ 



11 



■ •^J^' 



li^ 




Ball Photot 




MAY McAVOY 



From time immemorial there has been heated argument 
as to who might be the luckiest bird in the world. We 
have decided to settle the question by showing his picture 

12 




R. H. Louisa Photo* 

DOROTHY SEBASTIAN 

Although we risk libel, we say unhesitatingly that she is an anomaly. 
She combines in her appearance the dignity of maturity with the 
promise of youth. And she is young; actually in her pearly twenties 

13 




II 



Lansing Brown 

NICK STUART 

If the rubber band about his fingers were as elastic as his luck, 

he could stretch it indefinitely. For within only a short time 

he has bridged the gap from cameraboy to ranking star 

14 



Autrey 



ti 



sail 



1 



O A e ^1 ft a ^ a ss I n e ^liy ilk {he Cy e r s o n a I i i p 

MOTION PICTURE 



O^^^^IO 



Pictures and 

Personalities 



By GEORGE KENT SHULER 

PUBLISHER 



SO many miracles are coming about these days that 
the thing is getting to be monotonous. It's Hke the 
succession of honors that came to Colonel Lind- 
bergh and the reasons why the American team did 
not win the Olympics overwhelmingly. 

The first of these magical realities was the practical 
development of the talkie. This a short time ago was like 
one of those prophesies of the likelihood of commuting to 
Mars. Today it is here. 

And now appears another startling new device, tele- 
vision: something where.by one may transmit scenes by 
radio. Yesterday it was a jest in Hollywood. Today it is 
something that has been done and which, according to 
the staff of one of the great electrical engineering com- 
panies, will be in use within a few months. 

If the talkies threw the makers and the exhibitors of 
pictures into a panic, the television device should cause 
them nothing less than epilepsy. 

For it would seem that if its inventors choose, it can be 
used as a direct competitor of the moving picture. 

Radio Stock Plays 

IF scenes can be broadcast with as much success as 
sound already is, there is nothing to prevent a radio 
studio's having a stock company enact a play that one 
may see while sitting in the parlor. 

This would do away with the necessities both of studios 
and theaters. Not entirely, perhaps; but sufficiently to 
make a considerable dent in the impulse to fare forth into 
the wind and sleet of a winter's night to the neighborhood 
picture house. 

So here, no sooner have the producers of motion pictures 
begun to shine up the somewhat dulled interest of the 
puolic with the promise and performance of talkies; and 
exhibitors begun to have their houses wired for their pres- 
entation, than there has been born another and mde- 
pendently controlled means for giving the theatergoer the 
same sort of entertainment without the necessity of being 
a theatergoer at all. 

The Matter of Facilities 

THIS, at least, is one aspect of things. It may be, of 
course, that the radio companies will not choose to do 
this. And again it may be that their facilities will not be 




able to produce events of entertainment with the com- 
pleteness and care which will, or at any rate which should, 
mark the well-done talking picture. But the chances are 
that the broadcasting systems will no more overlook this 
visual medium than they have the vocal. And that they 
will arrange to augment their productive resources so that 
they shall be able to put on a good show. There is no 
reason why they shouldn't. They have everything in 
attention to gain by it, and little to lose. 

Competing Directly with Movies 

ALL of which in the end will work to the advantage of 
_l\_ the motion picture fan. For it will, for the first 
time in the history of the screen, give the screen a con- 
siderable competitor. The theater, with its higher jjrices 
and its necessary localization, has never been that. But 
the television, granted it is used as it may be, and 
with its absence of price and limitless distribution, will 
be. In such an event, there may be more effort expended 
than has been heretofore to make every motion 
picture genuinely effective. Those who have up to 
the present often profited because the movie was the 
only show in town, may hereafter only profit because 
their theater presents the best show in town. And 
that show will have to be definitely better; it will have to 
be enough better to overcome the inertia of the fan 
who may, if he wishes, sit at home and see and hear one 
— and that too, for only the cost of what one evening's 
tuning-in amounts to. 

Of course, in opposition to this advantage of delivering 
entertainment to the home that television possesses, the 
screen will ever have the charm of collective entertain- 
ment. There is an attraction always not only in the spec- 
tacle, but in the sharing of the spectacle with a crowd. 
To witness a prize-fight by television is really not quite as 
good as being there. The restaurant sandwich may not 
be as good as one that you can assemble from the resources 
of the ice-box. But frequently for the glamor of the place 
wherein it is eaten, it has more zest. So with the theater, 
silent or otherwise. It will always possess an enchantment 
of its own, apart even from the nature of the entertain- 
ment it proffers. And if television, already a reality, 
should become a general reality, it will have to compete 
with the mass-excitement of the playhouse. 

15 




Confessions 



"Blanche Sweef Tells 






n 






B. Keyea 



\rO miner trying a played-oui mine has more 
■i- V difficulty than has the fan magaiirie writer 
of today trying to get ' 'new stuff" from old and 
still reigning favorites. 

Gloria Swanson, the Talmadge sisters, Tony 
Moreno, Lon Chaney, Lillian Gish, the Barry- 
more boys — they and others like them have told 
and retold the stories of their lives. Time and 
time again. From first one angle and then 
another. Their love affairs. Their marriages. 
Their divorces, if any. Their ojpinions on 
women, if they are men; and on men if they are 
women. Their favorite songa, books, colors, 
candies, complexes and perfumes. The roles 
they yearn to play. Their favorite parts in the 
past. Practically everything that one human 
can reveal to other humans and still leave a vestige ' 
of covering about his denuded personality. \ 

What to do aboul it ? 

PegpU still tvant to read aboul these First 
Favorites of the Films. But nobody wants to read predigested prattle, 
no matter how rabid their fanrworship may be. It must be something 
NEW. Something never printed before. Something never before 
revealed in any magazine or newspaper. 

With this all but impossible goal in view, I approached Blanche 
Sweet. I went prospecting with pick-axe and shovel, with drag-net and 
dredge. We sat across luncheon tables for hours, Blanche and I. We 
lolled on the hot gold sands of the Pacific coast, talking, talking, talking. 
Analyzing and fine-combing the publicized past. Sifting events as we 
sifted the grains of sand. Reminiscing, questioning, prompting and 
suggesting. Hours of discarding. 

And finally there emerged a story of Blanche Sweet that has never 
before reached the public eye. The actdal, complete truth about her 
birth and childhood. Elements that have gone to make up the Blanche 
Sweet we have admired through the years. Admired for her very real 
artistry. Admired for the personality she has kept intact through 
suffering and disillusionmenl, through the crucible known as living. 
Admired but NEVER UNDERSTOOD. 

Here U is, then, a story about Blanche Sweet never before published 
in any newspaper or magazine, pamphlet or book. -AUTHOR'S NOTE 

16 



BY GLADYS HALL 



NEVER knew who my father was. Not fori 
years and years. 

"I had a very dramatic childhood and thei 
child I was has become the woman I am. 

Her Life Before Birth 

""\ TOST peoples' lives begin before 
iSji their birth. So did mine. 
"My mother was a dancer. She danced 
herself to death. Literally. And despite 
my knowledge of this, my passion for 
dancing persists. I would rather dance 
than eat or sleep, 
swim or work. Any- 
thing. 

"My father — my 
long unknown fath- 
er — was the son of 
a good family. One 
of the kind of men 
who possess a fatal 
attraction for 
women. Charming 
manners, a roving 
nature, great abil- 
ities and no indus- 
try. He had been 
married twice be- 
fore and there were 
five children by the 
previous marriages. 
He was years older 
than my mother. 

"His people ob- 
jected to the mar- 
riage. The course 
of their young love 
ran far from 
smooth. A dancer! In those days men of good family 
didn't marry people of the footlights. There was that 
well-known prejuaice, now outgrown. Time has changed 
all that. People today are rather proud of theatrical 
alliances. 

"Curiously enough my mother's people also objected 
to the marriage. On the grounds that my father was too 
old for my mother, that he had been married twice before 
-•-that they were afraid of him. 

"They were married anyway, of course. 
"I was en route to this earth from wherever it is we come, 
when my father up and migrated to San Francisco. To 
make his everlasting fortune. Again. 

" By some chain of circumstances the letters he wrote to 
my mother went astray. Never reached her. Letters con- 
cerning his prospects and plans for her joining him so 



lalla on ITntolA 7^1e 



2U<7* V.tiX\ 



I toraltr %m*itr *»* thi. .tory u rHwi to 
aU4ri B»ll •<«rt«U» mtartxl nmr bVir* t/Ltm 



tUi-\^SL^ Wlniit~ 



8ubMrlb«« ud nva «o tafora 




■I It <w«n. t>n •> uitoM 




'/ 



\ot a 



Star 



THE FIRST 

OF A SERIES OF 
REAL LIFE STORIES 



Her Untold Tale 



soon as I should be born. She never got them. 

"That he really did write I know because 
they eventually came to light and are in my 
possession now. It was carelessness, nothing 
worse. 

Deserted and Desperate 

" Ti/TY mother supposed that he had deserted 

IrJ. her. And it did something to her. 
Something irremediable. She went back to her 
dancing in order to provide for my advent. 
She could have appealed to his people, who 
were very well off, but she wouldn't do that. 
Both she and my grandmother felt that they 
had had enough of that family. 

" The dancing killed her. 

"She died of peritonitis when I was a year and 
a half old. Caused, the doctors said, by a 
tumor formed before my birth. 

"She was probably heart-broken, too. I'm 
glad I've never been sure about that. She did- 
n't do much talking, my grandmother has said, 
about herself or her own feelings. But I imagine 
she was sadly glad to go. 

"At any rate, I was born, and just as soon as 
she was able, before she was able, in fact, she 
went back to the stage and died as the im- 
mediate result. 

"At eighteen months I was alone in the world 
save for my gallant grandmother. Alone and 
with the stage as the sole support. 

"My grandmother took complete charge 
of me. Through all the years there was noth- 
ing she did not do for me. No task too hard, 
no duty too rigorous, no care too tender. My 
father's family offered to care for me. The 
offer was declined, with or without thanks — I 
don't know which. And when she did hear 
directly from my father, she disregarded 
his letters. She hid me so that he could- 
n't find me. 

"She didn't want him to have me 
or to know anything about me. She 
hated men in general and mv father 
in particular for the things he had .^" 
done to my mother. 




The Stage Her School 



FOR years I led the 
gypsy life of the 
stage. I was actual- 
ly one of those 
many who were 
'carried on' in their 
first part. My 
grandmother was 
untrained in any 
field of remunera- 
tive work. She 




was untrained in the world of the theater, too 
but through my mother connections had been 
established. 

"I didn't go to school, I didn't play with 
dolls. I didn't have any little girl or boy 
friends. I didn't do any of the things most 
children do. I knocked head-in to life 
first-hand. No text-books, teachers or 
school rooms served as intermedia- 
ries. I was a happy child so far 
as I can remember. An angelic 
looking little creature with ion 
golden ringlets and a hellis 
disposition. Chin thrust out 
{Continued on page 70) 



17 




Keystone 



Ham 



BY DUNHAM THORP 



YOU may talk of the marvelous banquets of 
your Chamber of Commerce, Rotary, or 
Kiwanis; but a true Angeleno will simply 
smile in pity. 
For hasn't Los Angeles combined the wel- 
coming business of all these into one organization, retain- 
ing the best feature of each — and adding ham and eggs? 
Through its world-renowned Breakfast Club, the 
"Cream of the Los Angeles Business and Movie Worlds" 
extends "the Hand of Friendship" (at the ungodly hour 
of eight A.M.!) to "the Distinguished Guest" welcomed 
into "the Heart 'of the Southland" — and in a far, far 
"Bigger and Better way." Where else, for instance, is 
there a stunt as cute as their little one of making the 
"D. G." ride a wooden hobby-horse — just to show that 
he is a "Good Fellow"? 

Maybe it does sound a bit childish; but, then it's just 
"We Boys," you know. 

And it's the best show in town, undoubtedly. Doesn't it 
play to capacity every time? Week after week, and with- 
out free chances at a Chevrolet sedan ? Four hundred were 
hoped for the morning I was there, and eight hundred and 
seventy-one showed up! 

How do they do itr — just box-office names, that's all. 
But what names! Perhaps Lindbergh one week, then may- 
be Mayor Jimmy Walker or Sir Thomas Lipton or the 



drama are so interested in their work that they cannot let 
slip a chance to practise for the sound devices — nor do they 
indulge in the false modesty of refusing to be BROAD- 
CAST. In fact, they take the greatest pains to be always 
at their best — the studio gag-men stay up nights that they 
may eat this breakfast. Who could resist the pleasure of 
contemplating such noble examples of disinterested self- 
giving? And when it is all absolutely without charge — 
with a free meal thrown in. . . . 

Want a look — see? O. K. — let's go! 

A gavel is pounded, and the voice of the President (of 



At the right, 
and in the 
order named : 
GilValeriano, 
C. M. Fuller, 
IrvingBerlin, 
Harry 
Guggenheim, 
C a r r i < 
Jacobs Bond, 
OttoHJCahn, 
John 
McKeown, 
and Ivy Lee 



latest batch of Bathint 
Marie; and so on, witr 



Beauties, or Gilda Gray, or Queen 
double-headers by no means rare. 



II 



Trying Out Talkie Technique 

AND besides the star attraction, the rest of the bill is 
_/\_ pretty certain to be ^ood as well. In a spirit of pre- 
sumably generous self-sacrifice, the movie great are lavish 
with the offers of their services. The stars of the silent 

18 





Key atone 



Friendship 



the B. C.) bursts from the assembled loud speakers. 

"Hello, Ham!" 

The eight-hundred-odd voices chant the response. 

"Hello, Eggs!" 

The meetmg thus formally opened, the interlocutor- 
pardon, the president — continues. 

"I'm very glad to see so many thoroughbreds here this 
morning. You know our club motto: 'Any old bum can 
stay up all night, but it takes a thoroughbred to get up in 
the morning.' Good morning, thoroughbreds." 

A thought bothered me: though only four hundred places 




The Breakfast Club 

Boosters Rise With the 

Roosters and Out-Crow Them 

had been set, eight hundred and seventy-one hungry 
mouths yawned open. Is it etiquette for a member to rmg 
in his whole clan on this free feed.^ Would a thoroughbred 
do that.? But the thought was silenced as the gavel 
pounded once again. 

"Mr. Herbert Rawlinson will lead us in song. First we 
will have 'Marching to Breakfast,' sung to the tune of 
^Marching through Georgia." ' 

Mr. Rawlinson wisecracks into the microphone (the 
whole preceding is broadcast over KEJK). Then, trying 
his utmost to make it appear accidental, he lets slip the 
name of the picture he is working in. Business thus at- 
tended to, he can at last allow himself the pleasure of song. 
In what we will call a rich baritone, he begins. 

We, of course, all join in. 

"Listen to the breakfast bell, it's calling you and me, 
Calling us to Ham and Eggs — a breakfast jubilee — 
So let's all sing the chorus, boys, and sing it heartilee. 
While we go marching to breakfast! 

Hello! Hello! 

Oh, Hello, Ham and Eggs! 

We'll eat; then drink 

Our coffee to its dregs. 

So we'll shout the chorus, 'till 

Each ear for mercy begs — 

While we are munching our breakfast!" 

Extra Helpings of Song 

BEFORE the last note is decently buried, the president 
leaps to the microphone — and his voice leaps at us 
from the loudspeakers. 

"Fine! Fine! But let's see if we can't do just a little 
better with 'Ham And Eggs.' Just a little better, boys. 
Now— a// together.'" 

{Continued on page 82) 

19 




The Victor 

of Trafalgar 

Surrenders 



What the guns of the French fleet failed 
later to accomplish, Corinne Qriffith, as 
Lady Hamilton in 'The Divine Lady," 
achieves with one glance from her eyes: 
the complete defeat of i4cfmirai Nelson. 
This seagoing suitor is portrayed by 
Victor Varconi. At the left is Lord 
Nelson's flagship. Victory, as it appears 
in the photoplay 



Wi 



inning in a 



Walker 



Hollywood Votes thejJ^ayor of 'Njw York 
JMfore Topular ./^"^^fll^fe^X than the Climate 



BY RUTH BIERY 



Holly- 
lost its 



live- 




FOR once 
wood has 
colloquial, 
unto-itself spirit 
It has stepped from 
the rut of movie hum- 
drum into the big 
world of politics and 
other - than - movie 
celebrities. 

It has gone Jimmy 
Walker. 

Just what the 
Mayor of the world's 
largest city has done 
to mspire such a revo- 
lution is no mystery 
to those who have 
watched him. 

He has merely picked 
up the sidewalks of New 
York, moved them to the 
. motion picture city, and 
walked his sartorially perfect 
self upon them. 

' He has told the hard-boiled 
press agents that they "are 
shrinking violets engaged in turn- 
ing the search-lights upon others." 

He has addressed the ultra-sophisti- 
cated opening-night audience of "Lilac 
Time" and held tnem spellbound until he 
had finished. 

He has acted as a star in a motion pic- 
ture; played the organ for the set-orchestra 
on a production. 

He has ridden a hobby-horse at the elite 
Breakfast Club after thanking a dignified 
political opponent for the publicity the veiled 
sarcasms of his speech had given him. 

He has gone flying with Phyllis Haver; he 
has stirred the patriotic souls of the American 
Legion. 

He has talked at this and at that — at every- 
thing strictly Hollywood except the 233 Club, 
which is composed wholly of Masons. 

Liked for Himself 

ALL in all, he has made Hollywood for- 
±\ get that he is the mayor of seven 
milTion people, but remember, forever, 
that he is a hail-fellow-well-met Prince 
of Good Fellows. ^______________^__________ 

Yet, through it all, he Above is the Mayor of New York with Colleen Moore; and below, 

has maintained a certain with a pair of longhoma presented to him in Hollywood 



mayor-like dignity even in face 
of the fact that everyone in 
town was immediately call- 
ing him "Jimmy." 

"Well, now that I've 
seen myself as a mo- 
tion picture actor, I 
think I'm a really good 
mayor!" 

He breezed into the 
sitting-room of his 
entire-one- floor 
suite of a Hollywood 
hotel, the same 
twinkly eyed, 
crinkly mouthed, 
one hundred per cent 
Irish Jimmy who had 
captured Hollywood, 
the mecca of 'traveling 
celebrities, as no other 
visitor has ever con- 
quered. 
He waved me to a divan 
and took a straight chair 
irectly opposite. 
"You know, I came out 
e for a holiday and a rest 
've got to go back home 
t: to work for the 'rest.' 
The motion picture people have 
been so actively nice to me!' 
Which, translated, means that New 
York's political maelstrom will be a haven of 
peace after Hollywood's whirligig of social 
activity. 

"No, I can't recall what has been my most 
pleasant experience." A real politician. New 
York and Hollywood's Jimmy. 

The Best Actor Not Acting 

BUT a few moments later his eyes tell-taled 
the secret when we asked him about the 
quickie he'd made at First National with 
Colleen Moore as his leading lady. 

Now we'd seen that picture. It preceded 
his personal appearance kt the "Lilac Time" 
opening. And we'd heard the press agents and 
cameramen and electricians and the rest of 
Hollywood's unbiased critics announce that 
"Jimmy Walker is the world's best off- 
screen movie actor.'.' 

There's no doubt that he's taken to 

acting as naturally as the first fish 

took to ^ater. When Colleen blinked 

her eyes and snuggled up 

close and then closer: 

{Continued on page 68) 

21 



Theodore Roberts, in the center, as he was six months 

ago; and, surrounding himself, as he is today, registering 

six different emotions with the same cigar 




C^yllivc and (y ticking 



Theodore ^obertSj the "Dean of the 
ScreeUj Jjghts a Fresh Stogie 



BY DOROTHY CALHOUN 



THEODORE ROBERTS is back again on the 
screen. Neither he nor his cigar has lost its 
drawing power. They are both still going strong. 
A hundred times in the last four years they have 
said, "Poor Theodore Roberts! He's through. He'll never 
play again." The first time was when he was carried from 
the studio, where he was stricken in the midst ofa picture, 
to his house on the hill — to die. They said it when he lay 
helpless, unable to attend the funeral of his idolized wife, 
Florence. They said it again, when he was carried off 
the train on a stretcher in the course of a vaudeville tour. 
He has read his own obituary in print — and his cigar is still 
gallantly alight, defying fate at a jaunty angle, like the 
plume of Cyrano. 

The doctors examined Theodore Roberts the other day. 
Their verdict was unanimous: "Wonderful constitution 
for a man of your age." Yet those same doctors shook 
their heads and murmured, "Hopeless," in those first 
days when he lay in the room that overlooked Vine Street 

22 



and the Lasky studio where he had a life contract. Less 
than six months later he was back on the lot, playing in a 
wheel-chair. He made three pictures in that chair, but 
they couldn't write an invalid r6le into every photoplay, 
so old Theodore Roberts started out on the road, with a 
nurse in attendance, to tour the country with a vaudeville 
sketch. Many a man half his age finds touring the big 
time wearisome. 

Tired, but a Trouper 

RIDING in stuffy branch trains, hoisting his great 
^ frame laboriously up and down car steps, toiling 
along theater corridors on crutches, could not have been 
easy for him, but he shrugs away impatiently any mention 
of it, with the curious shame of a strong man for physical 
disability. 

"It would have been hard if I hadn't had the money to 
travel well," he says, "and of course there were times — 
{Continued on page j8) 



A 




R. H. Louiam 



Showing His Wild Oats 

Buster Collier points with pride and a gloved forefinger to the many acres of 
natural grain which, according to his part in " Tide of Empire," he intends culti- 
vating. After, of course, he has attended to the more important concern of culti- 
vating R6n6e Ador6e 



23 




f\ollywoo 



d 



Two Pilgrims mistake 
Marion Davies's beach 



/ y^''^'^ house for Aimee Sempl 
^y McPherson's tabernacle 



24 



^tOp Me/ If You've 

Heard This 

Qompetition Jlmong the Stars 
for the '^Best Scotch Story Is Tight 



BY DOROTHY SPENSLEY 



THOMAS MEIGHAN: A Scotchman 
and a dozen friends had just finished 
dining when the waiter arrived with 
the check. 

"Give it to me — I'll pay it," came 
in loud tones from the Scotchman. 

The following day, appeared head- 
lines in the papers stating: 
"SCOTCHMAN KILLS VENTRIL- 
OOUIST." 



REGINALD DENNY: And then there is 
the Scotchman who bought the two- 
pants suit. 

"How do you like your new suit, 
Jock?" asked a friend. 

"Very weel, only it's a bit warm, 
wearing two pairs of trousers." 




KARL DANE: .A few people on the Metro-Goldwyn- 
Mayer lot know that George K. Arthur is Scotch. 
Karl Dane is one. 

Therefore when the great hole was dug for the 
foundation of the new "talking movie" stage, a 
group of them stood about, puzzled. 

" I'll bet it's Lon Chaney just returned from New 
York, hidden in the grass," suggested one. 

"Uh uh. It's the story department digging up 
material." 

Along came Karl Dane. 

"I know what it is. 
You're all wrong. 
George Arthur lost a 
nickel there last night." 



When Nancy Carroll and 
Chester Conklin go in for 
telling Scotch anecdotes, 
they believe in proper cos- 
tumes for the occasion. 
Here they both are, dressed 
to kilt 




RAYMOND GRIFFITH: After a Scotchman paid a Jew the fifty 
cents he owed him, the Jew died of lead poisoning. 

WALTER HIERS: It seems there was a Scotchman who had two 
sons. Both were midgets. 

SUE CAROL: The wife of a Scotch farmer was on her deathbed. 
It came time to feed the chickens and cattle. The farmer 
tiptoed to the bedside: 

" I gaen doown to feed the cattle, Annie," he whisf)ered. 
"!' ye feel yoursel' going, blow out the candle." 

MARIAN NIXON: Jock McGargle decided to become a motion 
picture actor when he learned that acting was a gift. 

MADGE BELLAMY: "WTiat an awful obstinate mon ye are!' 
said Mrs. McNag to her husband. 
"Whit ha'e 1 doon noo?" 

"Weel, I ha'e had that new cough medicine in the hoose 
a month an' ye havena' coughed yince." 



BEN LYON: A Scotchman with a handbag 
climbed onto a street car and handed the 
conductor a nickel for his fare. The con- 
ductor insisted that the fare was a dime 
and when the Scotchman refused to give 
him a dime the conductor threw him bag 
and baggage off the car. 

The handbag rolled into a lake at the 
roadside and disappeared. The indignant 
Scotchman chased after the trolley, 
finally overtook it and began berating 
the conductor. - 

"I'm going to sue you," he shouted. 
"You threw me off the street car, you 
ruined my clothes, you lost my hand 
bag, and you drowned my boy." 

EDMUND LOWE: A Scotchman dined at a restaurant. After 
paying his bill, he carefully counted the change handed him by 
the cashier. As he counted it a third time, the cashier, insultecl, 
snapped : 

"Are yuh trying to kid me? That change is right." 

"Yes, 'tis right," the Scot replied, "but 'tis only just right." 

CONSTANCE TALMADGE: A Scotchman and his wife wanted to 

go up in an airplane. The price was twenty dollars and the 

husband demurred. 

"I'll tell you what I'll do," offered the pilot. "I'll take you 

up for nothing, providing you don't make a sound all the time 

you're up." 

They agreed. The plane nose-dived, looped the loop, banked. 

The pilot gave them the works. Not a sound from behind. 
When they landed, the pilot said: 
"Well, I guess you win. I didn't hear a peep." 
"Weel, mon, I must say ye nearly got me when the wife fell 

oot!" • {Continued on page 24) 

25 



M 



2iTlC-an 



d-K 



en 



They're In ^gain ^,„,^„ 

3\4arried Teople Simpljm. 
Qouldn'tiMake a Succes]f^. 
of TDivorce 



BY DOROTHY DONNELL 




WHEN Marie Prevost solemnly revealed to her 
best friends that her mind was made up and 
she was going to get a divorce from Kenneth 
Harlan, 'it was their cue to shed sympathetic 
tears and clasp her to their bosoms and murmur, "Poor, 
poor little girl! Your heart is broken now, but time heals 
all." The best friends of Marie did nothing of the kind. 
They burst into peals of laughter and remarked when they 
could speak for mirth, "Don't be silly!" 

No one would take Marie's divorce seriously. They 
wise-cracked about it at the Montmartre, they kidded her 
about it on the studio set. The newspapers, usually de- 
lighted to report all the harrowing details of movie stars' 
domestic difficulties, printed an account of Marie's pres- 
ence at the opening of Kenneth's play a week after the 
divorce proceedings were started. Marie wasn't there, but 
they took it for granted that she would be. 

For six years nobody had invited Marie to a party. It 
was always Marie-and-Ken. "Who's coming.?" "Oh 
Phyllis Haver and Harrison Ford and Marie-and-Ken!" 
"Marie-and-Ken phoned they'd be over." The two names, 
in film circles, went together exactly like bread-and-buttet 
or gin-and-ginger ale. They had been engaged and married 
ever since the oldest inhabitant could remember. Six 
years of devotion in Hollywood equals a golden wedding 
anywhere else! Other stars might switch boy-friends, 

26 



Ball 

exchange husbands and wives and become alimony 
addicts, but not Marie-and-Ken. They were the local 
Romeo and Juliet, the movie Married Couple. 

Deriding Their Divorce 

OTHER stars might engage in domestic discussions at 
public cafes and roll upon the floor, pulling each 
other's hair in the course of the argument. No one had 
ever seen Marie-and-Ken quarrehng ("Home," says 
Marie, with her cryptic smile, "is the place for quarrels!"). 
So wheri Marie Prevost confided that she was going to 
divorce Ken, her friends merely said, "Don't be silly!" and 
went on to make it two hearts, or order peche melba or 
apply their lipstick. 

Even when the case came up in court, they refused to 
take it seriously. "Everybody knows," they shrugged, 
"howcrazy they are about each other. Why they even go 
on location trips together. When Marie had to make that 
picture at Del Monte, Ken wasn't working and went along, 
too. And when he had to go to the mountains, didn't 
she trail along and rough it in a lumber camp? That 
divorce will never be made final, you wait and see!" 

They waited, and they saw Marie living in the Beverly 
Hills home (with the priceless autographs scrawled over 
the basement walls) and Kenneth living at the Athletic 
{Continued on page 8d) 



1 







Richeo 



Where Louise Brooks is the object of vision, 

running away to see takes on an especial 

She recently took to this marine 

dress so that she might become a tar 

in her own right 




Among those at the 
very Fahrenheit of pop- 
ularity as screen lovers are, 
farthest left, Greta Garbo and 
John Gilbert; above them, 
Norma Talmadge and Gilbert 
Roland; below these, Evelyn 
Brent and Clive Brook; at the 
right and above, Nancy Carroll 
and Richard Arlen; and, at the 
right of the page, Richard Arlen 
and Mary Brian 



BY HELEN LOUISE WALKER 

WHO says there is no domestic life in Holly- 
wood? There is. Dear me, yes! In fact, 
we go other communities one better and boast 
people in our midst who lead two kinds of do- 
mestic existences at once. 

The first kind is quite ordinary. (Except for the fact 
that it is a trifle spasmodic and proceeds in fits and starts, 
as it were!) People marry and establish homes and bring 
up children in a more or less normal manner. 

But the epidemic of love-teams in pictures has intro- 
duced another type of domesticity which might almost be 
called companionate, in that the members of the team 
have separate homes and separate incomes and bank 
accounts. They may even have husbands and wives on 
the side! 

But the fact remains that the members of a love-team 
spend many more hours in each other's company than 
they spend with their own better halves, if any. And they 
certainly have more opportunity — indeed, necessity! — for 
making love to their professional mates. 

Conrad Nagel, who, in private life, is a model young 
husband and father, was asked by a stranger what he did 



for a living. 

"Oh," re- 
turned Con- 
rad, airily, "I 

make love to Dolores Cos- 
tello every day from nine until five!" 

We'll wager that few young wives, even in the first six 
months of marriage, ever enjoyed any such concentrated 
attention from their husbands as THAT! 

The success of the Gilbert-Garbo and Colman-Banky 
combinations is responsible for the epidemic of teams of 
screen lovers. 

Passion in Pairs 

F I AR AMOUNT has burst forth with no less than five such 
pairs. 

Evelyn Brent and Clive Brook, we are told, will depict 
sophisticated love for the edification of picture-^oers. 
Fay Wray and Gary Cooper will show us how beautiful a 
deep and spiritual love can be. Ruth Taylor and lames 
Hall will strut their stuff in a flippant, necking variety of 
the old, old story. 



28 



Mamas and Papas 

<v4 Thermometric Test of Teams 
Who Labor the Lovelong T)ay 



But they have made a screen bigamist of Richard Arlen! 
He will portray fresh young love with Mary Brian (what, 
ve ask you, could be sweeter than THAT?) and the 

breezy, collegiate sort of thing 

with Nancy Carroll. It looks 

^^fljli^gw like a busy summer ahead for 

^^^H^H^^ Jobyna Rals- 



■'V 



ton's young husband! Producers, it seems, grade these 
teams according to the — ahem! — warmth which they 
achieve in the clinches. 

Gilbert and Garbo easily head the list. The Colman- 
Banky team, now divorced, probably ranked second in 
box-office reports for the past season. Norma Talmadge 
and Gilbert Roland third. Janet Gaynor and Charles 
Farrell fourth. Fay Wray and Gary Cooper fifth. And 
so on down the list. 

Gilbert and Garbo, by the way, seem to be the only 
pair who have developed a real loVe affair through their 
work together in pictures. 

They did not, it is said, care for each other particularly 
until they met on that railway platform in "Flesh and the 
Devil." 

At that meeting, we are told, they gazed long into each 
other's eyes and — whoosh! Another Hollywood 
romance was under way! 

{Continued on page 72) 



With the exception of George K. Arthur and Karl Dane, 
both of whom here are emotionally below zero, all 
these players show evidence of excellent steam-work. 
They are, at the top, Ramon Novarro and Rente 
Adorte; Ronald Colman and Vilma Banky; and 
Bernard Gorcey and Ida Kramer. Below the tube, in 
comer, Janet Gaynor and Charles Farrell, and Lew 
Cody and Aileen Pringle 





^^^hat Should 



0^4 Self'Qonfessed ^eautmk 

and Sue <iAboumlh 



I 



When she first came to Hollywood, Joan Crawford, 
above, was almost as energetic after nightfall as 
before. And succeeded in winning eighty-two 
dancing contests. Whereas Jobyna Ralston, below, 
seldom sought any limelight except that provided 
by the studio 

30 



BY DOROTHY SPENSLE' 



'M seventeen and beautiful. 
If you believe that, let's go cm. 
I've got a figure that's the rave of the olcj 
home tovirn. It has Cleopatra's, Salome'sj 
and Aphrodite's beaten on all curves. 
And my eyes. 
And my eyelashes. 
And my nose. 
And my lips. 
Well, really. But I don't like to boast. 
(And now I'll try a wee bit from that cute litt 
green bottle with the dimples.) 
Dimples. You should see my shoulders. And myl 
knees. And my — my — ! Isn't the weather lovely! 
today.'' 
(I didn't know ginger ale, just plain ginger ale, could ev^ 
taste like this.) 

I'm five feet five, with eyes of blue: cerulean, heavenly, 
azure blue. Azure like it. The same as William Shakes- 
peare's new play.'' 

Come, come. This must stop. 
And my hands. 
And my feet. 

(And now I'll have a try of that liquid that lool 
like water. No, no! Not that one. The liquid in th| 
square, shining bottle.) 

And my hair is nothing but a mass of glintinj 
golden ringlets. 

I played J my in the class play of "Littl 

K Women" last year. 

And the town photographer took my pic 
ture and had it on display for nearly thr 
# months in his window. There was a littl^ 
, card in the corner that read " Beauteous 

Local Miss — a Pulchritudinous Mile, of Ou| 
Thriving Metropolis." 
And one year I Played America in "Thfl 
Melting Pot."' 

You can see that I do know something abou^ 
dramatics. 



B' 



A Trumpeted Up Excuse 

ESIDES, the man who came to our houst 

selling those encyclopedias said I'd be awfullj 

good in motion pictures. He was an actor himself 

once. He was one of the pages in Douglas Fair-j 

banks' "Robin Hood." He had to blow on a silvel 

trumpet that was later sold to Aimee Semj 

McPherson, so he told me, for her silver band. He reallj 

had a very important part in the picture, pulling the 

curtains back and forth and trumpeting around, but ht 

said that Mr. Fairbanks got jealous 
Kornman-Bruno bis acting ability and practically ruined 



Toot Qirl "D 

oAsks Joan and zMarian 
Short'Quts to Stardom 



the engagement. Making bad whoopee. 

But that was after he dropped one of the 
curtains just as Mr. Fairbanks was doing one 
of his daredevil leaps and the camera never 
recorded it. 

Luck was against him in other ways, too. 
He was under a seven-day contract but he caught 
tonsillitis on the fourth day and couldn't toot • 
the trumpet. So finally, he gave up his 
career. Or, rather, he was forced to. 

After we signed to buy the encyclopedias 
and the set of Yale — or was it Purdue.' — 
Classics that came with the 'cyclopedias — 
as he so cunningly called them — he gave 
me Joan Crawford's telephone number 
and told me that if I did decide to go to 
Hollywood, to call her up and get her 
advice on just how to get along in 
pictures. 

It seems that the encyclopedia sales- 
man had a friend who was very anxious to 
meet Joan Crawford and nobody at the 
Metro-Goldwyn-Mayer studio had her tele- 
phone number. At least, his friend would s^own 
call Mr. Mayer or Mr. Thalberg or Mr. 
Rapf and ask for Miss Crawford's telephone number and 
they would say that they didn't know it. So one day the 
encyclopedia salesman's friend went out to Culver City 
and waited all day until Miss Crawford drove up in her 
coupe and then he threw himself under the wheels. Of 
course. Miss Crawford had to stop and give him her 
'phone number and tell him to give her a ring and let 
her know how much it would cost to have his leg 
dressed and arm set. 

When I got to Hollywood, I called Miss Crawford 
on the Bell instrument right away. 

No Advice Crawford 

WHAT would you advise a girl to do. Miss 
Crawford, if she wants to make a success of 
pictures in a big way? How should she conduct 
herself socially.' Should she go stepping every 
night with a different sheik.' Or should 
she sit at home and knit.' What should 
a poor girl do if she wants to go 
into the movies.'" 

"Does a girl have to go into pic- 
tures.'" Miss Crawford asked me. 

That, of course, gave me a 
thought. It was a welcome change. 

But I don't think Miss Crawford really 
understood me. When a girl is inspired like 
I am to become a motion picture actress, 
reason plays no particular part in the 
matter. Look at girls like Joan of Arc 
and Peggy Hopkins Joyce. They let 
nothing deter them in pursuing their 
{Continued on page 84.) 




different 



Before Marian Nixon, below, met Ben Lyon, she 
was invariably to be found in her bed by nine 
o'clock. Now she goes dancing a lot. And so 
does Sue Carol, above, unless Nick Stuart wants to 
play bridge 

31 




JMae^s First 
Mother \6le 



Although no casting director has succeeded in per- 
suading Mae Murray to appear as a mother on the 
screen, she has volunteered to enact the role off it. With 
the result that we are enabled to present this charming 
picture of royalty informally at home, with the Prince 
Mdivani holding his heir, Coco, on his knee; and the 
Princess Mdivani holding down Coco's kiddie car 



32 



J 



The 

Troubadour 

^^ Silent oong ^ 

<Although working with 
iModern Mechanisms 
Ernst Lubitsch is a 
Mediceval J\iinstrel 

BY HERBERT CRUIKSHANK 

ERNST LUBITSCH without a ci^ar 
would belike Napoleon without a "weskit" 
into which to bury his hand. The 
Lubitsch cigar is one of the props. It may 
soon lose its shapely form, the fine fire of its 
flame, the fragrance of its aroma, and become as 
stubby as Jim Tully, dead as a movie magnate's 
sense of humor, and smell worse than a rotten 
deed in Denmark. But it leaves Lubitsch never- 
more. 

It may be clenched between the table-tapping 
fingers, helping to accentuate or stress a statement. 
It may find lodging in the far corner of the quick- 
smiling mouth. But any sniper who follows 
Lubitsch to seize a succulent puff from a discarded 
butt must hit a long, long trail. 

A quiet little brown man, unassuming as a 
mouse — the great director always reminds me of just that. 
Gentle in manner, brilliant of eye, he gnaws steadily 
through the cinema cheese to its very heart, and, to mix 
a metaphor, brings home the bacon. 

He is of medium height, and slender, despite a certain 
impression of slight rotundity which you may carry away. 
He is rather swart, with a mop of black hair which has a 
tendency to fall in a curve over a low, broad forehead. His 
most engaging features are his eyes. In thought they are 
deep and slumberous. But in anticipation of a laugh at his 
own joke or another's, they gleam and glisten witn appre- 
ciation and good humor. He can laugh heartily with them 
without moving a muscle of his face. 

When he came to us from Germany at the cabled behest 
of Mary Pickford, he had not the slightest knowledge of 
English. Now he comprehends and is comprehensible. 
But the pleasing "z" sound that takes the place of our "th" 
still slips from his tongue. He can be a voluble talker, but 
a fine sense of courtesy curbs his flow of words for fear he 
may monopolize — or for fear he may be lured into some 
statement which he does not wish to make. 

A Giant Half Grown 

BEHIND him lies a long record of accomplishment. 
Before him is an expansive vista of triumphs sure of 
attainment — but yet to be attained. He has not reached 
his full artistic stature. He has grown slowly to his present 




Lf Rowley 



eminence. And perhaps but 
now is approaching the full 
flower of his innate ability. 

If pressed, he will modestly 
select "Passion," "The Mar- 
riage Circle" and "The Patriot" 
as those three of his works which 
most please him. Of the three, 
you will agree that "The Patri- 
ot" is the finest. And that it 
discloses a new Lubitsch, showing 
splendid evidence of a "Lubitsch 
touch" at total variance with that 
which has been associated with his 
productions. The name of Lubitsch 
is one of the few directorial cogno- 
mens which means something to the picture business in 
actual box-oflSce dollars and cents. It may be placed at 
the top of the list with very few dissenting voices. And 
with universal acclaim among the three highest. 

When "The Patriot" is shown, it seems assured of a 
prominent position among the pictures of all time. And 
Lubitsch adds more palms to his cinematic croix de guerre. 
There are epic qualities in both subject-matter and treat- 
ment. The director has lavished the wealth of his genius 
without stint, and a jewel radiant in all its facets has 
emerged from the crucible. 

Not unexpectedly, he includes Negri and Jannings in his 
brief list of motion picture excellencies. It is fairly safe to 
say that he alone in all America was able to bring forth 
the full beauty and power of Pola's histrionic genius. And 
Jannings has set a new mark under Lubitsch direction. 

A Little Noise Enough 

TT is also natural that a master whose mightiest weapon 
I is the art of pantomime should not beam with too 
hearty approval on the introduction of sound into the 
cinema. He, however, accepts it as an inevitable develop- 
ment. And it is quite possible that he will be among the 
foremost of those who utilize this new agency to strengthen 
that appeal of pictures — to endow with voice the erstwhile 
dumb drama. But until greater perfection is attained, a 
{Continued on page J 6) 

33 



What We Hear From the 



What a mere literary celebrity thinks of the movies, frtmkly re- 
ported by the First National cheer-leaders: 

"Alice White has started work on her first stellar ve- 
hicle for First National Pictures, and 'Show Girl/ J. P. 
McEvoy's popular serial story, is soon to be registered in 
celluloid. McEvoy remained for the first day's shooting 
and then hastened East." 




And so he moved to the Studios 

"Most men know D. W. Griffith as a pioneer director- 
producer, but how many realize that he has one of the 
largest ranch properties in the fertile San Fernando valley? 
Griffith grows lemons on the ranch — but this did not 
satisfy him." (From United Artists broadsheet.) 

Further addition to the mass of evidence produced to show that 
mere Laemmle blood means nothing at Universal City; from the 
pensive Sam Jacobson, publicity chief: 

"Having proved to Hollywood that she merits success 
on her own talent, Beth Laemmle, charming niece of Carl 
Laemmle, has signed a long term contract with Universal. 
Two years ago, when Miss Laemmle was sixteen, her 
uncle offered her a Universal contract but she refused it." 

Further proof that Hollywood's famous moral tone has never 
been bigger or better, from an announcement in the eminent Los 
Angeles Times: 

"Norma Talmadge and Gilbert Roland, who together 
have portrayed several great romances on the screen, 
were among the three hundred passengers sailing for 
Honolulu at noon yesterday. . . . Miss Talmadge is 
accompanied by her mother, Mrs. Margaret Talmadge, 
and by her uncle, James Cooley, who shares a stateroom 
with Mr. Roland. She told newspaper men the trip is 
being made merely for a needed rest and has no other 
significance." 

We Nominate for This Month's Monster Bologna 

The Messrs. Paramount-Famous-Publicity for the 
following: . 

"Pola Negri has become an intimate of the great 
Rachel. . . . Prior to starting work on 'Loves of an 

34 



m 



Actress,' the star went abroad and searched the archived 
of the theater and the French government for materia] 
concerning Rachel,* passionate heroine of the film." 

The second prize of an elegant bouquet of horse feathers beikin 
awarded to Lincoln Quarberg, Caddo Productions armouncer, fOTj 

"Lucien Prival, who recently completed the heavy roU 
'The Racket,' spent three years among the bums ii 
New York's 'Hell's Kitchen,' studying underworld type 
before he started his career as a character screen actor. 

Anecdote from the independent Erie Hampton showing that eveni 
the relations of movie stars possess their share of the brilliant! 
sagacity for which the stars are noted: 

"Earle Foxe enjoyed a very happy reunion this week, i 
His mother, Mrs. Eva May Shields, arrived in Losj 
Angeles and her arrival was a complete surprise to Earle. 
Mrs. Shields had planned to call her son on the 'phone I 
and announce her presence. . . . Imagine her surprise, 
therefore, when the name of Earle Foxe drew a blank in 
the telephone book. Stranded at the station, the resource- 
ful mother sent the following telegram to Foxe's Beverly 
Hills home: 'I'm at the Santa Fe station. Come and get 
me. Mother.'" 

So Are Clara's Grammar 

"The methods of the present day screen flapper are all 
wrong. That is the opinion of Clara Bow. 'The artifices 
used by the modern motion picture flappers in getting 
their men is passe,* says this star." (From Paramount 
publicity.) 

We are still wondering what may be the duties of Elinor Glyn's 
technical director! 

"David Mir just completed work in 
'The Matinee Idol.' Before donning 
the grease paint Mir was technical 
director for Elinor Glyn for more than 
two years." (Item from press agent 
Hall Home.) 




Charming rustic scene faithfully set down by the sleuths of 
Paramount: 

"James Hall had his revenge the other day when he 
cornered a poodle dog that had been bothering him for 
two weeks, and bit it. During the making of the picture, 
it has been necessary for Hall to trip over the dog several 



I 

i 




uoN'm 




Press Circles 



times, and also to lie in bed and let the dog lick his face. 
Finally, the actor, who is ordinarily kind to animals, 
picked up the hapless dog and proceeded to gnaw at it — 
just as a newspaperman hove into sight." 

Palpitating news item from the front page of Hollywood's grand 
aad glorious newspaper, the Filmograph; incidentally winning this 
month's ormolu daisy-chain for the champion sentence from the 
pea of its editor, the famous long-distance litterateur, Harry Burns: 

"There was quite a bit of fun poked at visitors to the 
First National Make-up Department last Thursday when" 
Perc Westmore, who is in charge of that department, was 
visited by his brother Ern, who is in charge of the Warner 
Bros, make-up department, and while Ern was in Perc's 
department he had the hardest time explaining to those 
who happened in and Wanted some make-up wigs 6r 
whatnots, that he wasn't Perc, and while he and Mel 
Byrns, who is Perc Westmore's right hand man, were 
showing Ern about the lot, there were all sorts of people 
stopping them and starting to talk about make-ups and so 
forth, anent First National business, and Mel enjoyed it 
just as much as did Perc, who sort of realized what just 
such a visit by Brother Ern proved to him — that he sure 
is in demand and that he has quite a job to stay ahead of 
all the requests." 

The month's Norma Talmadge Special, proving once £uid for all 
that the well-known Mrs. Schenck is a real lady; from the United 
Artists press kennels. 

"One of Norma Talmadge's pet aversions is nicknames. 
Recently, while the famous star was resting between 
scenes of 'The Woman Disputed,' someone inquired, 
'How is Connie?' 'I don't know Connie, but if you mean 
my sister Constance, she is fine and enjoying a vacation in 
New York,' replied Norma." 




Sad misconception of the attitude of underlings in studio con- 
ferences, betrayed by the intensely well-meaning press agent, 
Charles Dunning: 

"A month later there was a conference at the M-G-M 
tudio over a choice for the all-important role of Bertha 
n what was then Gilbert's forthcoming picture. 'Carmel 
VI vers,' announced Thalberg. 'You're crazy!' shouted six 
other voices." 



By Cedric Belfrage 

Note from United Artists studio on the type of noise we are soon 
to hear at the moNdes: 

"Battle scenes of the Franco-Prussian war of 1870 are 
to be incorporated in 'The Love Song,' D. W. Griffith's 
United Artists special. The din of battle as well as a 
song by Lupe Velez is to be reproduced by Movietone." 




Brilliant contribution to the lore of the talkies, hcmded down to 
an expectant world by Hal Thorne, de luxe publicist: 

"One of the questions in connection with talkmg pictures 
which remains to be answered is: How are you going to 
get foreign sound titles in pictures made for American 
exhibition.? William V. Mong offers the following solu- 
tion: the actor first says his line in English and then in 
a stage whisper, repeats in the lingos of the rest of the 
world. Or, according to Mong, the lines could be repeated 
with equal emphasis, giving each nation a break." 

Who Had Only One Sideburn? 

"Here are a few statistics connected with a modern 
Battle of Trafalgar ... in 'The Divine Lady.' Exactly 
1438 wigs, 465 sideburns and 189 beards and mustaches 
were taken aboard ships by the make-up department." 
(From First National pronouncement.) 

Affecting confession of how the average story is treated ia the 
studios, from Joe Polonsky, Metro-Goldwyn foreign publicist: 

"W. S. Van Dyke is to direct 'Trader Horn'. . . . 
the story, adaptation and continuity for which are now 
being prepared, and will adhere closely, according to the 
director, to the original by Alfred Aloysius Horn and 
Ethelreda Lewis, this involving a unique method of story 
construction new to the screen." 

Inspiring example of democracy set by scion of vaudeville dynasty, 
as related by Universal: 

Do you know these facts? They concern a very famous 
family — father, mother and son, the Gleasons. 

Russel, the son of the world famous James Gleason, 
drove about Hollywood all summer in a 1922 automobile. 
He considered it quite good enough. 

35 




Everything is — naturally — since Eva 
Von Berne has been transported from 
Vienna to be his leading woman in the 
forthcoming Gilbert sizzler, ' 'The Mask 
of the Devil." This is their first photo- 
graph together 



with Jack 



36 



hvil As You and I 

Jin Unprotected Qirlj Hoping 

for the Worstj Interviews 

William Towell 



B 



BY GLADYS HALL 

ILL POWELL will have to be a villain, I thought 
desperately. 

Surely, 'tis not; too much to hope for — that 
one man should insult you or something. Make 
overt suggestions. Talk censorably. Things like 
that. 

I've been disillusioned so many times in the past. So 
many screen seducers have turned out to be kindly gents 
with a complex for gardening and old-fashioned matri- 
mony. So many murderous Machiavellis resolve into tame 
tabbies when you drink pale tea with them. 

Adolphe Menjou, for mstance. It was some while ago 
but I went forth to meet him, fondly believing I should 
not be the girl I was when the interview had ended and 
the infamy lingered on. I found his wife, his first one, 
darning his socks. Adolphe in darns. And I found him 
to be a mild-appearing soul with his glasses slipping toward 
the centrifugal point of the nasal appendage. I don't re- 
member what we talked about. The servant problem, I 
think. 

Lon Chaney is mild and kindly and reticent. If he 
should accidentally kill a fly he would turn Catholic so 
he could confess his blood-guilt. 

Bull Montana — isn't it Bull who gets bashed in the jaw 
by the Little Woman.'' 

Edmund Lowe grows flowers, has had the same wife 
for three years, treats her kindly and 
likes it. 




The Last Hope of Ruin 

BILL POWELL was my last 
hope. Those weary, cruel, 
heavy-lidded eyes. That beaked, 
predatory nose. That sensual, 
cold mouth. Here, surely, would 
be a rascal. Here, certainly, 
would be one small nip on the 
thigh, a suggestion or two calcu- 
lated to make me feel that old- 
fashioned way — ruined. 

He would be bold and debo- 
nair. Insolent and insulting. 

Hope springs infernal in the 
human heart. 

Anyway, he would be a wise- 
cracker. That's Bill's secondary 
reputation. When he and Dick 
Barthelmess and Ronald Colman 
play the Three Horsemen around 
Hollywood, it is Bill's job to make 
the two sober-sides hee-haw. At 
the least, I thought, he will be a 




side-splitter. I 
gave my ribs a 
tonic. 

I met him on the 
Lasky lot. Here 
in Hollywood. He 
was on time. That 
was a bad sign. Bad 
men keep good women 
waiting, or should. 
But there he was, waiting 
for me. I bore up under 
that. Emil Jannings was 
also standing fatly in the corridor. A great pink 
boy with a coy smile. I gawped at him as women 
and lowans do. Bill said, "We won't eat here. 
You'll spend your time ogling Jannings. We'll 
go elsewhere." 

That sounded promising. I had hopes. We would 
doubtless go to some den of iniquity on the portals of 
which would be appropriately inscribed "Abandon all 
virtue behind, ye wenches who enter here!" 

But we didn't. We went to the Athletic 
Club, on Children's Day. Vice doesn't 
flourish in Athletic Clubs. Dumb- 
bells do. 

You can't make a man insult 
you. 

Bill manoeuvred a Buick spor't 
roadster. He was respectful to 
traffic cops. 

Emil is Eulogized 

HE spoke of Jannings: "He's 
the greatest actor I've 
worked witn in Hollywood. But 
he's not the God-given genius 
people say he is. He's a hard 
worker. A terrifically hard 
worker. That's how he gets re- 
sults. All the foreigners take 
their work more seriously than we 
do." 

I asked about the new Barthel- 
mess marriage. Bill said, "I sat 
on the edge of Dick's bed yester- 
day morning. Jessica, a peach, 
{Continued on page 74) 

37 



mel 




oA Few 
That 



Fi 



We had always been fair- 
ly well convinced of the 
truth of the saying. But 
these glimpses of Car- 
melita Geraghty, at the 
left; of Connie Lamont, 
in the upper left-hand 
comer; and of Barbara 
Pierce, above, settle be- 
yond question that brev- 
ity is the 9oul of IT 



com 
tc 
bo 

at I 
no: 



138 



l'fc> 



E. B. Homtar Photoa 



To "Be Shed 

Figures of Teach 
Explain themselves 



Prophecy is a hazardous enter- 
prise. But don't you yourself 
think that there is every reason 
to believe that in any beauty 
competition, and under any set 
of circumstances, Natalie Joyce, 
above; Virginia Vance, at the 
right of her; and Julia Duncan, 
at the right of this, would be 
more than likely to outstrip 
their rivals? 



/ 



\ 



lbtt« 



39 




Fraulioh 

A ND this morning's little talk on Loveliest Holly- 

/\ wood, my chicks, shall be devoted to the beau- 

r^L tiful story of how Uncle Carl Laemmle discovered 

JL J^ a friendless waif of the studios named Laura 

La Plante, and made a star of her for his great big picture, 

"Show Boat." 

I know how disappointed you will all be not to receive 
some personal message from the lucky thing; but, to tell 
you the truth, she's still so utterly all of a flutter about 
her wonderful good fortune that she can't stay still long 
enough to interview anybody. However, I overheard her 
siiy that she felt Carl Laemmle was her jfairy grand-uncle, 
which shows what a delightful sense of humor she has, 
don't you think so? 

I don't suppose any of you little darlings have any idea 
just how kind the big Hollywood mens we call executives 
are. In fact, nobody could realize it properly unless he 
had happened to look on during the period of casting a 
big picture like "Show Boat." You probably think the 
nice old executives are so busy with one thing and another 
that they haven't time to interest themselves in who 
should be the lucky girl to play the part of Magnolia. 
Well, I should hate to call any of you precious things a 
liar, but that's what it amounts to if you go about spread- 
ing any such wicked ideasl As a matter of fact, on occasions 

40 



\]ncle Cam 
Kjabbin^ 

After Three Months' 

Talking and Testings 

He Gives ^^Show Boaf\ 

to Laura ha Plante 

BY CEDRIC BELFRAGE 



like this there isn't an executive in any studi, 
who doesn 't absolutely make it his business tc 
try and help some poor little waif he may kno^ 
of get the much-coveted part. 

Not That They Care 

AS they explain over the telephone to thel 
j[\. Universal casting office, it s absolutely 
nothing to them who plays Magnolia; but they 
do happen to just know of a girl who'd be ideal 
for the part; and she needs it, poor kid. The 
lovely part of the whole thing, and what 
absolutely disproves all these horrid scandal- 
mongers who tell you Hollywood has no soul, is 
to see how beautifully grateful the little waifs 
are to the nice kind mens who try and help 
them, even when instead oj Magnolia they can 
only get them a couple oj days' extra work. Lives 
there a man with soul so dead that he can't see the sheer 
child-like beauty of that? 

Well, the hunt for the girl who would be a perfect 
Magnolia went forward with vim, verve and gusto (excuse 
the Portuguese, my loves). Of course, they had only been 
making tests for about six weeks or so, and used up a mere 
half-million feet or so of film, when all the usual hard, 
bitter cynics who, I'm sorry to say, are so prevalent in 
Hollywood, started carping. Some said that the only 
person who got anything out of all the tests was Hope 
Hampton, the wife of Jules Brulatour, the raw film 
merchant, for whom each new test made meant a new 
diamond bracelet. Others couldn't resist the nasty com- 
ment that all the executives except one at Universal City 
would be going with a diflPerent girl within a couple of 
months. This very unpleasant sally, I must explain, 
carried the thought of the cynics who made it that nobody 
had a chance except either one of the girls under contract 
to Universal, or the girl-friend of one of the Universal 
executives. Needless to say, this fantastic idea was 
ridiculed when finally dear, kind Uncle Carl selected 
Laura La Plante, an absolute unknown who is most 
respectably married to an equally obscure gentleman by 
the name of Bill Seiter. 

(Contintted on page 86) 




Wm. Morten»»n 



Twice <lAs Tretty ^s Usual 

You may have thought it incredible that any girl could even approach the beauty 
of June Colly er. Yet here it is doubled — of course, only by means of a mirror and 

herself 



41' 



Ys^Ute and 




and 



YLalm 



Autrey Photoa 



twenty 

Years 

From 

Sally 

Thipps 

Might 

^a\e 

Pictures 

Seriously 






SHE'S cuter than a kewpie and 
cooler than Coolidge. The only 
thing excitable about her is her hair. It blows 
about in short, auburn curls over her head. That 
can't be helped. But not counting the coiffure, she's 
calmer than a Christian Scientist. Where all the other 
ingenues hop around with a touch of the St. Vitus and 
bleat that everything is just too good to be true, Sally 
turns lustrous brown eyes skyward and sighs. Mrs. 
Phipps's little girl hopes everything is going to come out 
for the best — but if not.? That's somebody else's tough 
luck. Not Sally's. 

Something tells me that she isn't an hour over seventeen- 
and-a-half years old. She couldn't be and remain so 
elaborately blase. That's youth's prerogative. It is only 
when one has passed into the mature twenties, thirties, 
forties and fifties that one can let one's self go and hope 
and plan and get excited about things. I fear that some 
day I will be sent to talk with Baby Peggy and that her 
melancholia will swamp me. 

Not that Sally is melancholy. Nothing like that at all. 
She's merely looking the movies squarely in the camera's 
eye and refusing to get all hepped up about them. "They're 
mostly politics, anyway, " she remarked, casually wrapping 
one slim, brown leg a couple of times around the other. 
"Somebody's mother, or brother or sister or friend is 

42 



BY DOROTHY MANNERS 



always around to be taken care of. Or 
else a company sinks so much money 
in a star that they have to keep plugging her in all the 
good parts that come up to get their investment's worth 
out of her." 

She Knows Her Aforesaids 

SUCH wisdom out of the mouth of a babe might have 
surprised me if I hadn't firmly made up my mind to 
be flattened at nothing the delectable Sally might say. 

"I studied to be a lawyer," she went on, "and I'm just 
as interested in the contracts and the production end of 
the business as I am in my own career." 

She delivered this crisp observation from a reclining 
position on the chaise longue in her dressing-room. She 
wore, besides the crown of unruly hair, a little gingham 
dress that struck her coyly about two inches above the 
knee. The exposed knees were bare and brown and slick. 
Not even a sport sock interrupted the line down to the 
elaborately heeled shoes. An enormous stack of fan mail 
and a half-opened package of cigarettes served as back- 
ground. The whole scene flapped with today's youth. 
Now, I ask you, is that any picture of an ex-law student? 
I ask you. 

"Oh, I suppose my interest in law was more or less in- 
{Continued on page if) 



r 




R. H. Loui— Fhoto* 



Satntmg Their Faces 



Richeo Photoa 



Harry Thaw, who introduced Anita Page to the movies, 
had an accurate eye for versatility. Anita is equally ap- 
pealing in the vestments of the chorus and the cloister 



So many deeds of destruction has Baclanova committed as a 

screen adventuress that one might well believe it were high 

time for her to reform and assume the conventual black 

43 




amiLi; 



44 



A beauty bathing, but not a bathing beauty, in the true and only original Mack Sennett 

sense of the phrase. Who is she, this little girl of that impetuous and hazardous era 

wherein ladies had to lash their stockings on? Norma Talmadge? Are you sure? You 

want to stick to that? Well, you're right 




Ki^mera 




Lia Tora, at the left, appar- 
ently believes she may some 
day be called upon to play 
love-scenes with Lon 
Chancy, and is getting into 
training 

One screen star impersonates 
another: Marion Davies, right, 
imitates Jetta Goudal in her, 
Marion's, next picture, " The 
Cardboard Lover" 

Autrey 



W^fmfl ^^ 



45 



CINEMA SHOTS FROM COAST Td 




In her private life, even in the hottest of 

weather, as well as in her public career, 

Corinne Griffith, above, continues to get 

along swimmingly 



Sta\Kng off disgrace : Frances Lee, at the 

right, is modem but modest; she's not 

the kind of girl who doesn't give a hoop 

how much she exposes herself 



Protagonists of prohibition will doubtless 

seize upon the picture of Richard Arlen, 

above, to establish that even rowing need 

not have the element of wetness 



46 



COAST AND BACK TO COAST AGAIN 




Richee 



Clara Bow's next picture is 
"The Fleet's In." The title, 
considering Clara, seems in- 
sufFcient. It should be ampli- 
fied to read "The Fleet's in 
Luck " 



Feet foremost: a nearsighted 
camera has endowed Lane 
Chandler — above, in the center 
— with a pair of dogs that make 
the Hound of the Baskervilles 
look like a chihuahua 



Loretta Young, above, reverses exactly the 

old order of feminine dress which prescribed 

skirts down to the ankles and stockings well 

above the knees 



Of course, we know that Josephine Dunn, at 
the left, never really goes swimming in this 
jeweled jersey. But we hope, too, that she 
doesn't jump around too much on the beach 
and lose some of the gems. There's no sense, 
you know, in casting pearls before brine 



47 




o/^roadway^ 



for the 



"Bernard Shaw 
Jlctors 

By LOUIS REID 



ST. BERNARD stalks alone Broadway! St. Bernard 
Shaw from John Bull's other island, with his tongue 
in his cheek, a twinkle in his eye and his hand sup- 
pressing a belly laugh at the expense of all actors 
this side of the StjTc. In Broadway's own peculiar. lan- 
guage, 'the dramatist with the socialistic scorn for all 
capitalistic dollars save his own, is a wow. 

And all because he turned actor. 

Not the common or garden actor who was a leading 
symbol of Broadway when the Shubert brothers were dis- 
playing the latest things in neckwear in distant Syracuse. 
Nor yet his more opulent brother of the films who has 
built a fabulous legend about Hollywood. But an actor 
who employs the new and astounding device of the movie- 
tone upon which to express himself and his personality. 

To witness the dawning of a day in which a mere drama- 
tist would be acclaimed a second Jannings, whose -voice 
would be likened to the strains of a 'cello and the ripple of a 
waterfall, whose acting sense would be hailed as forceful, 
vivid and appealing is, in itself, inconceivable to those 
members of the stage profession who are regarding the 
movietone as the culmmation of their dreams and am- 
bitions. 

Once they reflect upon the strange event, however, they 
are inclined to be more charitable, more tolerant. Then 
they realize that Shaw is capable of anything, even black 
magic; that his importance as a world figure gives him an 
immunity even in a startling impersonation of the divine 
Mussolini; that, in short, he can get away with anything 
including murder and lese-majesty. 

The Menace of Playwrights 

HE danger to them and to their careers lies, however, 
_ in the courtship of a similar ambition on the part of 
ose less famous and less gifted than Shaw. Suppose other 



dramatists, without his renown 
or talent, should attempt to fol- 
low his lead, and elbow ready and deserving 
actors away from the movietone! The very 
idea is incredible. Nevertheless, the possibility 
remains as a horrible and haunting spectre to 
menace the peace and prosperity of playerfolk. 
There is little wonder then at the spectacle 
now being enacted behind the scenes wherever 
actors congregate — in clubs, in dressing-rooms, 
in boarding-houses, in the hotels of the roaring 
Forties and the easy-speaking Fifties, and 
along the curbs of Broadway from Times 
Square to the Winter Garden. The world of 
make-believe is getting ready for the movie- 
tone. And getting ready in every conceivable manner 
before the motion picture magnates decide, because of the 
success of Shaw, to place other writers, as well as editors, 
column conductors and whatnot, under contract. 

The actor has decided, with the business instinct bom of 
his association with union labor, that he is not to be caught 
napping. He is training his voice as he has never trained 
He is reducing his embonpoint, he is in attend- 
ance upon the city's 
vast hordes of dietitians 
and tonsil teasers, and 
masseurs, and face-lift- 
ers, and double-chin 
eradicators. Never in 
the history of the stage, 
according to the reliable 



it before. 



T 

thosi 





48 



oyjCobilizes 
Talkies 

Has Qiven Old 
TS[ew Ideas 



Illustrated by eldon kelley 



reports of keyhole-peepers, has there been such 
;in activity in the beautifying of face and form 
and voice as today. And all because the movie- 
tone is sweeping like'income tax collectors over 
inemaland. 

The Dawn of Many Tomorrows 

YES, the actor believes that the day, his day, is at hand. 
I refer, of course, to the actor who, by reason of some 
deficiency in screenableness, in photographic ability, has 
been unable to obtain employment in the films. Year by 
year he has witnessed his more fortunate fellows garnering 
fame and foreign cars in the tropical luxuriance of Holly- 
wood, while he has been compelled to make the wearisome 
and frequently humiliating passage froVn agent to agent, 
from manager to manager, in quest of work. He has felt 
poignantly the personal application of the slings and 
arrows of outrageous fortune, observing the turn of destiny 
toward some individual immeasurably inferior to him in 
the equipment of the successful thespian — in vocal culture, 
in imagination, in the knowledge and technique of panto- 
mime and characterization. 

Occasionally, he was seen by the head hunters of the 

movies. Occasionally, he was sent for and tested screenic- 

lly. Occasionally, he was dispatched to the Glyns and 

other legendary connoisseurs 
of that indefinable 
quality known as 





sex appeal. Occasionally, he was assigned to a subordinate 
role m the cast of an incomparably beautiful, but in- 
credibly inexperienced star. If the fates decreed favorably, 
he remained in Hollywood permanently, built his bunga- 
low, planted his orange trees, hired a Filipino man servant 
and lived happily ever after with no further ambition to 
gratify than to become a master of ceremonies at a Sid 
Grauman opening. 

More often, however, he brooded amidst the clamor and 
glamour of Broadway, doing his damnedest to get a better 
contract, to pay his club dues and reap the reward of 
electric lights. 

Ancient Studios Reopen 

SUDDENLY came the startling news of the development 
of the movietone. Studios on Long Island, m the 
Bronx and other parts of the metropolitan district, 
were unlocked and a force of cleaners and car- 
penters and mechanics put to work to 
prepare for this strange and significant 
mnovation in screenland. 

The news spread rapidly along Broad- 
way. Fat actors rushed to 
the nearest Turkish baths. 
Thin actors rushed to the 
most reliable caloric ex- 
perts. Husky-throated ac- 
tors eased their adenoids 
with cigarettes. Clear- 
throated actors began to 
practice the mi-mi-mi-ini 
of professional singers. Actors 
who had been criticized for 
poor diction hunted up the 
most noted voice culturists, 
and actors who had been 
praised for good diction sought 
(Continued on page y 5) 

49 





OttoDyar 



Chow Time 



There's a pause in the day's occupations of Emil Jannings that's known as the canine's hour. 

In this instance, it has come while the great character actor is dining outdoors, assuming the 

role of host to himself at a one-man lawn-party 



50 



•jfF^P^:' 



The ^>J{^ome- Coving Home-W^recker 

Thy His Haver %Jamps for 
Trofessional Turposes Only 



S 




HE is the personifi- 
cation of all the 
cuties from Cleo- 
patra to Aimee 
Semple McPherson. She 
looks like Lorelei — botn 
Lee and legendary. She 
has the naughtiest eyes and the most alluring figure in the 
world. And — 

She lives with her mother, prefers milk to champagne, 
and spends most of her evenmgs at home brushing her 
prize Persians. 

Phyllis Haver. Champ home-girl of the screen. In 
movies she breaks 'em, m private life she makes *em. 
Dangerous doll of a dozen celluloid triangles, the girl who 
made the one-piece bathing suit what it should be today — 
is just a home-girl. Even wives like her. 

Phyllis was just fifteen when Mack Sennett signed her 
for his comedies. She started her devastating career 
adorning the beaches. She helped make Hollywood 
famous — she and Marie Prevost in those abbreviated 
swim-suits that never got wet. Her picture, on post-cards, 
went the rounds of the towns. If she had happened a 
decade or two sooner, cigars would have been named after 
her. As it was, she had her share of fame long before she 
was twenty. She was the Queen of the Cuties. "Pretty 
Baby" might have been written to her and undoubtedly 
was sung to her. The blondest of blonde hair, the bluest 
of blue eyes and the most luscious of curves — topped off 
with a smile guaranteed to melt the hardest heart and 
unloosen the tightest purse-strings. 

Not a King Collector 

AND what did this movie beauty do with this personal 
J^\^ fortune — cop off a king or a count, marry a million- 
aire, promote her own company.^ She did not. She stayed 
home with mother, minded her own business, saved 
her salary, invested her savings wisely — and waited. She 



BY CAROL JOHNSTON' 



<i'a|rc^~ 



knew — her mirror must 
have told her — that she 
had one of the most en- 
ticing make-ups since 
Helen of Troy — that girls 
with less equipment than 
^^ hers had re-made maps 

and unmade magnates. But Phyllis — here's the great, 
big joke on Nature — Phyllis wasn't that kind of a girl at 
heart. She was — wonder of wonders ! — sober and practical. 
She was, besides, an artist before she was a beauty. She 
could think and she could act. So — she bided her time. 
Acting wasn't considered quite nice in those dear dead 
days. Pretty girls made pleasant faces and tossed their 
curls and flounced their skirts, but they didn't act. 
Heavens, no! And Phyllis wanted to be an actress. 

Meanwhile, with Marie she went right on posing atop 
wave-splashed rocks, tilted on tiny toosies, stretching 
dainty arms to the great, big cynical ocean. Magazines 
and newspapers continued to court her; millionaires and 
movie public smiled at her — and she smiled back in that 
irresistible way of hers. But — she'd go home and say: 
"Mother, I'm tired of it. When will I get my chance.'"' 

Phyllis Goes Dramatic 

IT CAME one day. Some girls might not have recog- 
nized it as "My chance." Phyllis did. It was just 
what she had been waiting for. A real acting part. Not 
a heroine; not even a lead. But a r6le you could get into. 
The wronged girl in "The Christian" — pathetic, shabby, 
pitiful. Great dramatic possibilities — yes. Hardly the 
part you'd pick for a famous beauty about -to graduate. 
But Phyllis grabbed it. And played it — and wow! She 
went over. She bridged the gap from beauty to actress in 
one gracefi'l leap. I don't think there is another case like 
it in picture history. That leap alone would make Phyllis 
unique in Hollywood annals — without the eyes and the 
{Continued on page 8j) 

51 



Laurence Reid 

Reviews 

THE New Photoplays 





GRETA GARBO'S 
personality 
plus a technique 
that every ob- 
serving fan knows — these 
make certain in establish- 
ing "The Mysterious 
Lady" as a picture which 
is certain to appeal to 
most of the boys even if 
the Gilbert man is con- 
spicuously absent. You 
see, Conrad Nagel is the 
boy friend who is closest to 
the divan these days. 

The picture is nothing 
to rave about. The Scandi- 
navian lady rises far above it in 
her role of an itty spy of the late 
war. Her particular assignment is 
to tempt a susceptible youth to his 

doom. You see, he has the papers. It's an old trick which is perpetrated. She 
pretends to fall in love with him and ends up by discovering that her heart has 
truly gone pit-a-pat. 

It's an antique yarn dusted off for the occasion, but it functions fairly well 
— what with the Garbo woman tempting and tempting and tempting. And it 
builds a fair line of suspense. Some may miss that Gilbert man — and, missing 
him, may discover that Conrad doesn't burn up his scenes .even if he does act 
with more poise than the big passion man. 

First Class Mystery 

THAT intriguing yarn, "The Bellamy Trial," — one of our best 
sellers — has been treated to a dose of celluloid, and turns out to 
be a neat package. It follows the books very closely, builds through 
a courtroom sequence with an array of flashbacks and keeps one as 



excited as the original. This is right up Monta Bell's alley I 
(he's the director, you know) and one can pay homage to a | 
first-rate job. 

Readers of the novel will appreciate what's taking place 
every minute and yet it holds the attention through its 
approach to realities. Suspicion points first to one and then to 
another. And the scene shifts constantly to the place where- j 
body was found. And you know, a place where body is found 
has never failed to rouse the morbid vein in all of us. 

The least suspected person in the book still remains the 
least suspected person in the picture. That's how close it 
follows as neat a mystery tale as has ever found its way in 
print. The atmosphere reeks of the genuine touches of any 
courtroom where a murder case is being enacted. Close-ups 
tumble head over heels on long shots. And don't forget , 
Exhibit A or B. These provide some fascination, too. 
Altogether, you'll enjoy this new picture very much. It 

At top, left, Conrad Nagel is demon- 
strating to Greta Garbo that she 
doesn't miss John Gilbert at all. The 
scene is from "The Myste- 
rious Lady." At the left is 
bit of courtroom procedure 
as revealed in the excellent 
version of "The Bellamy 
Trial." Leatrice Joy is the 
little lady at the right. Below, 
Baclanova registers extreme 
fright in "Forgotten Faces" 



52 



9f 




THIS MONTH 



The Bellamy Trial 

Lilac Time 

The Mysterious Lady 



Excess Baggage 
The Perfect Crime 
Forgotten Faces 



is capitally acted with genuine grasp of the emotional stuff. 
Haines Cuts More Didoes 

SINCE the excursion on the stage of the plays approaching 
big doings a la footlights, it was only natural that most of 



rhem would take on a celluloid design. The first of this type 
of play to be converted into screen drama is "Excess Bag- 
gage 




-which sings a swan song of a vaudevillian's ups and 
downs. He has a stanch girl friend, but she is pursued by a 
movie ham who strings her along with talks of contracts and 
stardom. Mind you, she's no skitty creature ready to give the 
boy friend the air. On the contrary, she wants to help him all 
she can. 

And so it develops that he gets down and out and can't 
stage a come-back until he is assured that the girl still loves 
him. There's not so much to it. Indeed, it lacks punch and 
feeling in its most vital parts. The biggest scene is when the 
l?ig Single Act does a warfield in telling his rival where to 



At top, right William Haines is about 
to execute his famous slide for life in 
"Excess Baggage," a picture of a 
vaudevillian's ups and downs. 
At right are Colleen Moore 
and Gary Cooper, who furnish 
romance and sentiment for 
"Lilac Time," an adaptation 
of a love story of the late war. 
Below are Irene Rich and Clive 
Brook, who play the central 
figures in "The Perfect Crime" 



get off — which is O. K. 
The first part goes a 
trifle slapstick, but it im- 
proves and reveals an 
interesting account of 
vaudeville come-backs and 
throw-backs and making 
romantic whoopee gener- 
ally. Josephine Dunn, as 
the girl, misses many emo- 
tional opportunities, but 
William Haines sees to it 
that it is acted with 
creditable gusto on his 
part. 

Crime De Luxe 

NE of the neatest crook 

melodramas to bob up 

in some time goes under the name 

of "Forgotten Faces." It has real 

motivation, its characters are sharply 

defined — and it builds an unusual line of suspense which keeps the 

spectator on the continual anxious seat. A crook gives himself up and 

is railroaded for a lengthy term. But before he checks out civilization 

he entrusts a pal witn the job of seeing that his child is watched over 

carefully. He is distrustful of a girl friend who is as responsible for his 

being a crook as she is for being the mother of the babe. Well, this 

evil temptress bobs up to taunt him. So he attempts a jail-break to 

exact vengeance. This is but one of the highly suspensive scenes 

which hold you in a tight embrace. 

The convict eventually wins a parole and pays back his paramour 
through a series of annoying experiences — experiences engineered 

tto break her morale. And sure enough, she breaks down and is 
caught — but not before she takes the crook to eternity with her. 
(Continued on page 80) 

Si 




<Lyi ISlude Development i 



54 



manifest in Nancy Carroll's beach costume. 

The darker areas are beige, but the lighter aod 

arginal hues are nude — a novelty in design 

that calls for a perfect matching in tone of 

bathing and birthday suits 



7^ 




Betsy Lee, soon 

to play house 

with Reggy 




bubbles Leave ^asPy 

Old Salad Jllone and T)rin\ 

Her ?\ljce <JM.ilk 



BY DOROTHY MANNERS 



Reggy Denny, 
already playing 
the sturdy oak 



THE little bitsy girl with the big brown eyes 
looked over at the great big mans and said, "Can 
I have a salad, plea-se?" 

He said, "Now, baby, you know I don't want 
you eating salads. You want to eat potatoes and drink 
milk—" 

"A crab salad, plea-se." 

But the big mans was firm. The old meanie. "You 
have milk, baby. Reggy wants you to get fat. Waiter, 
bring a glass of milk and — " 

"Crackers?" I suggested brightly, getting into the spirit 
of the thing. 

"Ah, please, I want a salad," Bubbles pleaded prettily. 

"Now, baby!" Reggy's tone was fond and disciplinary. 

And this might have gone 
on and on if they hadn't 
reached a compromise on 
milk and chicken salad. 

The little kid who wanted 
the salad was Bubbles, more 
recently and professionally 
renamed Betsy Lee; and the 
great, big bully with the milk 
complex was Reginald 
Denny. Bubbles and Reggy 
are going to be married this 
fall, sometime in November. 
Now, a lot of people who 
haven't anything better to 
do with their spare time are 
sitting around wondering 
how everything is going to 
come out with Reggy and 
Bubbles and the weary old 




institution of marriage. You see. Bubbles is somewhere 
around eight or nine years old in appearance, though she 
admits to twenty-one years of existence. And Reggy is 
some older than that. Quite some. But you'd never 
know it. I guess that is what love does for one — or two. 

Goody, Goody, Goody 

THEY are in love. And how. I give you my word she 
just sits and looks at him and he looks back at her 
and then they smile, and it doesn't make any difference 
whether they're drinking milk or gin or eating crackers or 
crab. They'd never know, anyway. Now and then he 
has to stop and scold her about little things that come up: 
about not eating nice healthy food, for instance; and she 

pouts a little, but it's all in 
fun. After they're married 
you can just see Reggy break- 
mg up animal crackers in her 
milk, and Bubbles clapping 
her hands. 

To tell the truth, my origi- 
nal intention was to talk 
with Bubbles alone. But after 
we met at the Roosevelt I saw 
everything had turned out for 
the best when Reggy showed 
up with her. Reggy tends to 
everything for Bubbles. She's 
just surrounded by protec- 
tion — and it's last name is 
Denny. He seems to want to 
save her everything, even 
the nuisance of answering 
{Continued on page 73) 

Photoa by Freulich 55 




56 



Chi 



L 



eave 




57 




ihis Jjttle Sta 

Went to JWarket 



Kathryn -JM.c(^mre Set Out to\ 

^e Qloria Swanson and 

became J\irs. Landy 



BY BETTY STANDISH 



who wonder if that last summer's dress can 
be made to do for this summer, who speak in 
excited Httle phrases of their recent honey- 
moon trip, is Kathryn McGuire, formerly of I 
the Mack Sennett lot and now the wife of 
George Landy, commander-in-chief of the 
First National publicity offices. 

Kathryn's face is familiar enough. 
It ought to be. She has been in the 
movies ever since her early high 
school days. In fact, she "gypped" 
the last three years of high school 
for the movies. It was not that 
Kathryn loved the movies more, 
but she loved the Hollywood 
High School less. She says she 
was a timid little kid who was 
more or less of a washout with 
her classmates because she re- 
fused to cut classes to go out 
necking on the school grounds. 
This is probably the first case 
on record of a girl going into the 
movies to escape the dangers of 
school. Will wonders never 
cease ? 

Kathryn's Mild Career 



THERE is a younger 
married set in Holly- 
wood that is tied to the 
movies more by a salary 
check than by anything else. And for the 
most part it lives, markets, plays bridge, economizes and 
matinees much after the manner of the younger married 
set in any suburb. These are the younger picture girls 
married to the junior supervisors, directors, actors, press 
agents, and the like, of the infant industry. They are of 
the studios all right, but not in the tinsel, shining way that 
Gloria Swanson or Jack Gilbert belongs. Their professional 
work is merely the seasoning to the more important busi- 
ness of life, like keeping the maid pacified or getting the 
laundry out. 

Of these younger matrons of Hollywood who get just as 
much of a kick out of seeing Norma Talmadge as you 
would, who do their own marketing even as you and I, 

58 



ONE day a friend of hers had an 
engagement at the Sennett 
studio and Kathryn went along. Some- 
body of importance got a look at Kathryn, 
and wanted to make a test. And that's the 
way she got started. In a delicate, blonde sort 
of way she galloped around in bathing suits and 
made eyes at Ben Turpin until her contract expired. Then 
she started free-lancing in politer comedies at Fox and 
Universal; and more recently she has alternated her talents 
between horse-operas and dignified dramas like "Lilac 
Time." _ 

Her biography reads like that of a couple of hundred 
other girls in pictures. But somehow her background 
smacks more of "The Ladies' Home Journal" and inviting 
another couple over for bridge than it does of spotlights 
and close-ups. Maybe it is because Kathryn talks and 
looks that way. At an offhand glance you'd never know 
she was in the same business that Clara Bow was. 
{Continued on page /p) 



C^n 







utstanding 



=7, 



gure 



That she was chosen for a Sennett bathing beauty 
pretty well establishes the fact -that Carol Lombard 
possesses one. But because she has, in addition to 
this, an uncommon dramatic aptitude, she promises 
soon to become one, in less frivolous realms of screen 
acting 





59 





Hommel 

Fred Kohler promises to become one of the screen's most 

likable character actors. The heartiness of his laugh alone 

makes him well mirth remembering 



R. H. Louise 

An extra girl, such as Betty Morrissey recently was, with 

an extra share of beauty, such as Betty Morrissey has, soon 

ceases to be an extra girl 



Rooking *^hem ©ver 

Close-Up s From the West Coast 



THERE are any number of ways of 
getting in the movies, including per- 
severance and blackmail, but young 
Paul Guertzman is the first novice 
I've known to sass his way in. 

Paul is fifteen years old and fresher than 
paint. He was born in Russia but grew up in 
France; and the only person in Hollywood 
with more self-confidence than Paul is Lupe 
Velez. On second thought, Paul fades Lupe to 
a violet. 

Jesse Lasky picked up Paul on his recent 
trip to Paris. Or it might be more appropriate 
to say that Paul picked up Jesse Lasky. Dur- 
ing the Paramount executive's stay in Paris 
the movie-struck Paul presented himself daily 
at his hotel suite, demanding an audience. 
Various flunkies, secretaries and managers 
•tried to shoo him away, but Paul wouldn't be 
shooed. Finally, out of desperation, some one 
told Lasky that an insistent boy wanted to go 
back to Hollywood with him to work in the 
movies. Lasky sent out word, rather impatiently, that he 
couldn't be bothered. The word was relayed to Paul. 

"Tell Mr. Lasky," replied the youthful Mr. Guertzman, 
"that I will be glad to see him when he is in a better mood." 

Lasky got such a chuckle out of the impertinence of the 
kid that he consented to see him and now Paul's in Holly- 
wood for you and all to see. 

Greta's Mysterious Mister 

SAW Greta Garbo lunching very tete-d-tete in a shadowy 
corner of the Roosevelt Hotel with an unknown gen- 

60 




T' 



Speaking of tights for 
sore eyes, permit us to 
introduce those of Mu- 
riel Evans 



tleman. Even at the prosaic lunch hour Greta 
is very much Garbo. She found the only 
secluded spot in an otherwise well-filled room. 
Then she jerked off her hat and ran her 
fingers through her hair and promptly forgot 
that there was any one else present. 

Wonder who the mysterious gentleman 
was.^ He might have been a friend. Or an 
interviewer. Or a tax collector. But he wasn't 
Jack Gilbert. 

The High Cost of Friendship 
HE Ben Lyon-Marilyn Miller romance 

is supposed to be cold now. But the 

other night at Lina Basquette's party Ben got 
a telephone call from Marilyn m New York 
that lasted an hour. 

Oh, well, maybe she was trying to get a 
friend in the movies or somethmg. 

Lois in the Legitimate 

EDWARD EVERETT HORTON and 
Maude Fulton are sponsoring a stock 
company in Hollywood, and who should be playing op- 
posite Eddie but his old friend from the movies, Lois 
Wilson. Everybody likes Lois on the stage. She's pretty 
and sincere and doing as well with lines as she dia with 
close-ups. Lois's good friend, Gloria Swanson, is usually 
in the audience applauding her. 

Everything Jake with Jimmy 

THE whole town has been all hepped up about enter- 
taining Mayor Jimmy Walker of New York, who has 
been out here on a little informal visit. The Academy of 





Caraey 

A First National player who appears destined soon to 

become an international figure on the screen is Frances 

Hamilton 



Sergta Alberts 
Ever since he appeared opposite Mary Philbin in "Drums 
of Love," Don Alvarado's popularity has been increasing 
to beat the band 



0ut 9€olly wood T^ ay 



By Dorothy Manners 



Motion Picture Arts and Sciences got up a 
big dinner for the popular James and instead 
of a lot of speech-making and other boredom, 
they went down to the old Mayfair room at 
the Biltmore and danced until time to go to 
work the next day. A lot of people had a 
hunch that it was His.Honor's idea. 

The Mayor seemed to get much more of a 
kick out of judging dancing contests with 
Marion Davies and Charlie Chaplin and 
things like that than any of the royal fetes 
they could have planned for him. 

The night of the premiere of "Lilac Time" 
he dined with Colleen Moore and John 
McCormick and wittily addressed the audi- 
ence after the showing of the picture. 

Walker was about the most popular visitor 
Hollywood has had since Lindbergh. 




E 



Big Time at "Lilac Time" 

I LAC TIME" got ofF to a loud and 
elaborate opening, naturally. Every- 
body who had five dollars and a new dress turned out for 
the event. It was Colleen Moore's big night. Colleen 
looked radiant in a peach-colored chifFon dress that was 
designed especially for the premiere. Her party included 
Mr. and Mrs. George Fitzmaurice, Julanne Johnstone, 
Dorothy Mackaill, Lupe Velez, Mayor James Walker, Al 
Jolson, Charlie Chaplin and Ben Schulberg. 

Jobyna Ralston and Dick Arlen were spotted wandering 
around at intermission — which was more or less surprising, 
inasmuch as Dick and Joby seldom bother attending 
premieres or parties or anything that takes them away 



In the matter of cos- 
tume, Marion Byron 
goes in for newsboyish 
bobs 



ifrom their own fireside. Dick admitted quite 
honestly that he was there out of curiosity to 
see how "Lilac Time" stacked up against 
."Wings." 

Reverting to Type 

1AURA LA PLANTE is going to dye her 
^ hair black for the role of Magnolia in 
"Show Boat." Laura got this part over a lot 
of competition and she's determined to make 
it as realistic as possible. The people who are 
raising such a howl about Laura's dyeing her 
hair seem to have forgotten that Laura was 
originally a brunette, and so dark tresses 
won't be so unbecoming to her, after all. 

Bubbles Is No Baby 

REGINALD DENNY, with a hurt expres- 
sion, stopped me on the street the other 
day. Reggy is going to marry that cute little 
kid Betsy Lee, commonly called Bubbles, 
sometime in November and that was just 
what was on his mind. 

"I wish you'd do me a favor and tell everyone that 
Bubbles is twenty-one and not eighteen," he said. "I don't 
want to look like too much of a cradle-snatcher." 

Talkie Tribulations 

ALL the girls are getting awfully excited about the 
J~\. talkie movies and are having their voices cultivated. 
This innovation is going to have an awful lot of weight in 
the casting of pictures. For instance: 

{Continued on page 88) 

61 




The Spirit of the Old ^JVlasters 



Interpretation of this will depend upon whether your inclinations are 
artistic or alcoholic. If your appreciation is of the first sort, then this 
photograph of Yola D'Avril and Louis Wolheim, as they appear in 
"The Awakening," will serve chiefly to demonstrate that the camera 
can create effects in composition comparable to those of the great Dutch 
painters. But if your bent is bibulous, the interest in the scene will lie 
in observing the reactions of a modem man about to surround a fair 
quota of the real B. V. article and pronouncing it fine and, brandy 



62 



The Menacin' 

Man 

The %Jillainy of Earle 

Foxe Includes Stealing 

His Son's Toys 



BY HERBERT CRUIKSHANK 



HE had just finished killing Victor Mc- 
Laglen. And a very neat job he made of 
it, too, Personally, I could never under- 
stand how some folks can be so messy with ^''"^ 
their murders. No finesse, no je ne sais quoi — 
if you know what I mean. But practice makes 
perfect, and he'd killed Vic several times before 

Nevertheless, it was a good job well done. Par- 
ticularly when one considers the fact that up 
to four films ago Earle Foxe was known pri- 
marily as the creator of that very silly ass 
Reginald Fan Bibber. Reggie, you remem- 
ber, being the two-reeler chappie who had all 
sorts of ghastly custard-pie things happen 
to him and his high hat. 

But what a different setting this! No comic 
background here. The scene was real and raw 
and ruthless as the pungent tang of tar and bilge 
that permeated the studio. The picture was "The 
River Pirate." And the stagnant water on the flooded 
set lent the odor of the wharves to the stark realism of 
the scene. In such environment I had seen half-naked 
shenangoes mingle blood with sweat in murderous battles with baling 
hooks, eye-gougmg, ear-biting battles from which even the victor was 
scarce able to stagger away. 

"Putitdahn, I tellyah! Put it dahn!" Vic McLaglen had yelled 
in his Cockney accent. But Foxe, sleek rat of the river, held the 
gat steady on the big Briton's heart. Inch by inch they edged 
nearer, taut with the lust of the battle which must come. Then 
the sudden leap, the flash of the gun, and "Cut! That's very 
good Earle, very ^ood Vic," from director Bill Howard. 

"They've certamly made you a deep and dirty menace in 
this babay," I ventured as Earle stepped off the set. 

"Yes," responded the ex-slapsticker, "and when they write 
'em dirtier, I'll play 'em heavier. Let's get a glass of milk." 

And over the milk I learned about Foxe from Earle. 

Ohio Plays Santa Claus 

HE was born in Oxford, Ohio. As the feller says, lots of good men come from there. 
The better they are the quicker they come. Earle was born on Christmas day. 
Just a little gift to art. 

If it hadn't been for one thing and another, he might still be taking the local talent 
joy riding. And boy, what a buggy it would be. For old Dan'l Foxe owned the 
buggy works. And Dan'l was Earle's grandpa. But, of course, as things happened, the 
buggy works gradually evolved into the Buick Motor Company. Which makes old 
Dan I one of the founders of General Motors. And makes his grandson, Earle Foxe, 

{Continued on page 85) 




Autrey 




pointing with Tride 

Pauline Starke wears a gown the design of whose fabric comprises caricatures of the famous personages of Holly- 
wood. Look at the enlargement of the pattern at the top, about an inch below the margin and a trifle to the 
right of the middle, and you'll see the drawing of herself that Pauline is pointing to on the back of her own dress. 
Some others at the table with her are John Barrymore, Doug and Mary, and Glpfia Swanson. Can you make 

out any others? 



64 



1h 



Slapped a Icing. 

Saved a nation. 

Wa.s born in poverty. 

Hccame the most celebrated beauty of her time. 

Was one ot the greatest sirens of history. 

Is the subject of fifty world-famous paintings by Romiiey. 
worth $HX),ooo each. 

Was loved by Lord Nelson, famous naval hero. 

Became the scandal of Europe. 

InHucnccd the destiny of nations. 

W;is scorni'd by the country she saved from defeat. 




The most gigantic naval spectacle ever filmed! 

Scores of sea monsters at death grips . . . Flaming frigates 
plunging to destruction. 

One of the most fanwus love affairs of history livrd upon 
the screen. 

.\ sensational best-seller brought to you in film form. 

The first presentation of the inside story of the private 
lives of famous historical characters. 

The famous Battle of Trafalgar pictured for the first time, 
in rich detail. 

The sumptuous splendor of European courts. 

Five famous players in the leading roles. 

A cast of thousands in breathless action ! 




H. B.WARNER, VICTOR VARCONI 

IAN KEITH and MARIE DRESSLER 

"Produced by FRANK LLOYD 

who made "the sea hawk" 

•Presented by RICHARD A. ROWLAND 

A l\xhK national Picture 

Takes the Guesswork Out of "Going to the Movies" 

65 




Myma l.oy 
Warner Bros. 



ii 




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WHAT CHARM radiantly 
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Proposals! 



A glance at her blonde loveliness tells 
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of the charmers in the Broadway hit, 
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Miss Francis says: "Since I've been 
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Winning in a Walker 

{Continued from page 21) 



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"Well, perhaps that wasn't all acting," 
he told us. 

Of course, he's no stranger to motion pic- 
tures, the Honorable Jimmy. He organized 
the Motion Picture Exhibitors' Association 
and spent five years of his life oiling its 
machinery. 

The advent of Will Hays sjjelled the 
exit of Jimmy. 

He's the man who's kept New York 
.movie houses open on Sundays. 

He's the boy who's opposed censorship 
from the time he first introduced bills in 
the New York Assembly. 

"My interest in motion pictures is so 
great that I cannot see the advantage of 
the industry going into partisan parties," 
he told us. 

Yet he had been quoted in the Los 
Angeles newspapers as saying that one pro- 
ducer was trying to deliver the motion pic- 
ture industry to the Republican party. 

Mayer Answers Mayor 

AN anonymous statement made at the 
_ Wampas dinner, which Louis B. 
Mayer took occasion to answer. 

"When he denied it by saying that he 
couldn't even deliver his own stars at an 
opening, what was there for me to say? I 
dropped it. 

"Besides, the movies as an industry are 
not a political influence. 

"But if you speak of the screen, well, 
that's another matter. 

"There's no doubt that a candidate can 
project his personality on the screen and 
reach the people he could never get to from 
the campaign platform. 

"The screen's power is analogous to that 
of the radio speakers. 

" In fact, the screen and the radio are the 
two most powerful political influences 
today. They will play a large part in the 
present presidential election. 

"But no producer can deliver the screen 
to any one party. 

"The talkies?" 

He twinkled — the Jimmy Walker twinkle. 
" I've only seen one in my life and that was 
at the opening. I didn't like it — but don't 
say that. I'm a mayor, not a producer. 

" If the public likes the talkies, they will 
be a success. Whatever the public likes in 
this country will ^et over. Tnat goes for a 
man to be elected or for the movies." 

We asked him about the talkies return- 
ing motion picture production to New 
York City. 

An Impartial Booster 

AND right there he said all that a visitor 
is supposed to say about the Los 
Angeles climate, the growth of the city, 
the wonderful economic improvements. 

But he didn't deny that Manhattan 
might welcome the reopening of the pic- 
ture studios. "Since the talkies have to be 
made on a stage, they might as well be 
done in New York," he admitted. "I 
know, of course, that location pictures 
must continue to be made in Hollywood 
where there is a certainty of climate. 

"I've really enjoyed every moment I've 
spent in this city." He agilely shifted the 
subject. 

The first week he spent on the Hearst 
ranch high in the mountains. More than 
fifty motion picture folk trapsed along. 
Celebrities paying homage to celebrity. 

On his return, Colleen Moore tossed a 
dinner. Charlie Chaplin, Marion Davies, 
Conrad Nagel, Carmelita Geraghty — name 
practically any star you choose and you'll 
hare the list of guests. 



Gloria Swanson held open house. Dougi 
las Fairbanks played his new game witl 
shuffleboard equipment adapted to tennis. 
This was at the United Artists' studit' 
where every star but Mary was present. 

And where it is said that Lupe Velez— 
but, you know, I didn't quite dare asl 
Jimmy about Lupe. Even an interviewei 
has to play politics when conversing witb 
the world's best-known mayor. 

But we couldn't help wondering if hii 
acquaintance with Lupe lent inspiratior 
to the address he made in Tia Juana. Whei 
the coast guard serenaded him, he responded 
by remarking, "What a hell of a good placd 
Mexico is." 

Back Home, but Not Broke 

MEXICO held a Jimmy Walker handi- 
cap whippet race in his honor. And 
the new hotel, America's Monte Carlo, 
four miles beneath the border, turned the 
dice wild. Yet he was the only one in the 
party — not excluding the host of motion 
picture folk who escorted him over the 
border — who returned with the same 
amount of money with which he started. 

You know, I spent one entire morning 
on that hotel sixth-floor waiting for the 
secretary and the valet and the tenth- 
congressional democratic candidate to lead 
me to His Honor. I utilized my time pok- 
ing my nose into corners. 

I found two motion picture cameras and 
learned that the Mayor's interest in movies 
is not limited to opposing censorship and 
keeping New York theaters open on 
Sunday. He's an expert amateur director 
and took prints of ail his vacation 
happenings. 

A couple of radios operate in his private 
car and keep him informed how Al Smith 
is behaving. 

Two phonographs. "The Sidewalks of 
New York" as the top record. 

A room for Will Seeman, personal friend 
of the mayor and a gentleman who prefers 
them blonde even in the motion picture 
city. 

Another for William Egan who repre- 
sents a railroad and takes care of the private- 
car switchings. 

A reception-room for Maurice J. 
McCarthy who went to school with His 
Honor. 

A suite for Charlie Hand, a secretary 
who is more adept at thwarting newspaper 
and magazine writers than President 
Coolidge is at keeping silent. 



The Invisible Bar 
the bar. 



I COULDN'T find 
there wasn't any. 

The telephone rang every moment 
the questions people ask a mayor prove 
that he is already next-door to an actor. 

A woman was giving a house party in 
Long Beach. "The best people will be 
here and it would be good for Mayor 
Walker to be present." 

A lady who votes Democratic had a war 
poster and wanted the mayor to endorse it. 

A man has a sure-shot show. He only 
needs a few thousand, dollars. 

Ah, it's too bad about these people. If 
their names had chanced to be Polly Moran 
(whose Irish witticisms made her one of 
His Honor's favorites), Sally O'Neil, 
Molly O'Day, Phyllis Haver, Lois Wilson, 
Betty Bronson, Norma Talmadge, Eileen 
Percy, Claire Windsor, Billy Haines, 
Marion Davies, Buster Keaton, Bob 
Leonard or any other of the hundred and 
one others who became well acquainted — 
the telephone calls would have surely been 
answered. 



Maybe 
And 



68 



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70 



Confessions of a Star 



{Continued from page 17) 



Nose in the air. That kind of a little brat. 
I often think that the child I was then is, 
really, the woman I am now. Only I hide 
it better. 

"When I was nine, we were touring the 
country with Chauncey Olcott and his wife. 
They were, by the way, delightful to -me in 
every way. Whenever I was ill, they had me 
at their own hotels and cared for me per- 
sonally. They even offered to adopt me and 
send me through school and college, but my 
grandmother refused the offer. She wanted 
me herself. I was all she had. I didn't want 
to be adopted, either. Whenever my grand- 
mother wished to punish me, she would 
threaten to 'give me to the Olcotts.' They 
had a convent in mind for me and a convent 
didn't appeal to me. It doesn't now. 

"The year I was nine we were playing in 
San Francisco. 

"One night — true to the best 'meller- 
drammer' — my father was in the audience. 

" I was billed as Blanche Alexander, the 
grand-maternal name I used. My grand- 
mother was also billed under that name, her 
own. She occasionally played small parts 
with the company, both because she was 
clever and because her playing reduced ex- 
penses. 

Found by Her Father 

"\ 4"Y father recognized the name. He 
i.VL also recognized my grandmother. He 
didn't, of course, recognize me. He had 
never laid eyes on me before. 

"After the performance he came back- 
stage. And for the first time in my life I 
was face to face with a father! A very large, 
imposing, dramatic father at that. 

"This is a curious commentary, I think: 
I had never even thought about a father! 

"It had never remotely occurred to me 
that I should have had one or that I didn't 
have one. I'd simply never thought about 
the matter at all. My grandmother, of 
course, had never referred to the missing 
parent. She didn't want to. Nor did I miss 
my mother. She had died too young for me 
to remember, and my grandmother had 
been both father and mother to me. In 
every way. 

"It seems to me that this fact tends to 
dispel the amount of hokum that is written, 
talked and sung about the mother and father 
bond. About blood being thicker than water 
and all that. I don't believe it. There's 
something wrong somewhere. It isn't as 
vitally important as it is made out to be. 
Because, when I didn't have them I didn't 
think about it. Nature rang no bell in my 
heart. Instinct didn't point a lack. I just 
didn't know it. I commend the solution of 
this to the probing psychologists. 
"There was my father. 
"He made a scene, of course. He was the 
type who would. His little lost daughter 
again. That sort of thing. He told a vivid, 
tragic story of his long and fruitless search 
for me. His finding of clues only to lose 
them again. And suffer heartbreak afresh. 
I think it probable that he did make de- 
sultory efforts to trace me. I don't think it 
probable that they were very sustained 
efforts or that the heartbreak was chronic. 
He wasn't that sort. 

Rescued for the Theater 

" AT any rate, he announced, clutching 
j[\_ his golden-haired darling to his 
heaving chest, at any rate, now that he had 
found me he was going to keep me. He was 
going to care for me, educate me properly. 
No more of this. 

"My grandmother, not without qualms, 
acquiesced. She raised no objections at 
that time. She felt that fate had taken a 



hand and that it might be better to let fat 
ride the wheels for a time. Perhaps she fel 
too, that I had done enough trouping abou 
and that I was entitled to the advantage] 
my father promised me. 

"We took an apartment in the city, mi 
grandmother and I. And I was sent to 
very exclusive boarding school in Berkeley 
My father had married again and was livin] 
in another part of the city. 

" I had the most gorgeous years in tha 
school. One of my life-long dreams caia 
true. They braided my hair. I had alway 
despised my long, theatrical curls. I hai 
yearned for the day when I might be de 
cently braided like 'nice little girls.' Thej 
couldn't get it tight enough to please me 
I went about looking like Sis Hopkins, 
wanted to be like other girls. 

"No one in the school knew that I had 
ever been on the stage. If they had found 
out, I should have been compulsorily reH 
moved. It was that kind of school. 

"I loved the dual r81e I played. Here I 
was, with all my experiences of life behind 
me and at the same time living a nice-little-i 
girl life in a carefully regulated school 
Frequently, during geography lessons, when 
some particular city or state would be under 
discussion I would long to announce that I 
had been to those places, knew all about 
them and could impart a fund of informa- 
tion. But I never did. I never breathed a 
syllable. Life had taught me, even then, to 
keep quiet about myself. To be reticent 
and guarded. I've never unlearned that 
lesson. 

Blanche's Barroom Life 

" I .^VERY Saturday or Sunday, some- 

l^j times both, my father would come for 
me and we would set forth on enchanting 
adventures. Or they were enchanting to 
me. He treated me as a pal, not as a child. 
As a boy, not a girl. He had wanted a son 
when I was born. For no good reason, con- 
sidering that he already had two perfectly 
good sons by his previous marriages. At 
any rate, he took me trolley riding and 
taught me to jump off and on while the cars 
were in motion. That was sport. He took 
me to barber shops and let me have sham- 
poos while he had hair cuts. He took me 
into bars and let me put my foot on the rail 
and listen to him talk to his various cronies 
while I sipped root beer and he sipped other 
things. I never saw my father drunk, but 
I know that he liked his liquid refreshment. 
I learned about life this way. 

"After two years of this my grandmother 
abducted me. Actually. Like two Arabs 
we folded up our tents and stole away in the 
night leaving no word behind us. She had 
personal reasons for the move. She didn't 
like the way things were going. She mis- 
trusted my father's influence. 

"We went back to New York and got 
work there. It wasn't always easy and 
there were many barren periods, but I never 
remember starving or sleeping on park 
benches. 

"We went back to San Francisco once 
more and I had some further schooling in 
the public schools. It didn't last long. My 
father was not a consistent man. Either in 
his enthusiasms or anything else. And he 
didn't interfere very strenuously with our 
disappearances. 

"I played around New York until I 
began my work on the screen and after that 
pretty nearly everything has been written. 

"Not everything. I've often wondered 

what my life might have been had I stayed 

on at that Berkeley School, married some 

suburban chap, settled down to a regular 

{Continued on page 87) 



To Men Getting Bald 
I Say / 



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Founder of the Merke Institute, Fifth Avenue, New York 



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Hot Mamas and Papas 



{Continued from page zg) 



Love For the Love of It 

THEY enjoyed their love scenes so much 
according to people who witnessed 
them, that they often held the pose and 
continued with the business long after the 
director had called "Cut!" and the cameras 
had ceased to grind. Indeed, it is doubtful 
whether they realized that anyone else was 
there to call out anything at all! 

Love-teams get into a rut, it seems, just 
as married couples do. If they play together 
long enough, they reach the well-known 
stage of knowing each other too well — of 
knowing in advance just how the other 
member will react in certain situations. 

There is no drama in the existence of a 
long and happily married pair. They reach 
a level plane of understanding which pre- 
cludes any exciting clash of personalities. 

Something like this happens also to a pair 
of actors, it seems. Ronald Colman, dis- 
cussing his screen separation from Vilma 
Banky, remarks, "The intimacy engendered 
by working together in a number of pictures 
makes for smoother and better perform- 
ances each time — up to a certain point. 

"Then you begin to know each other too 
well. You work so smoothly that it begins, 
almost, to be uninteresting. You know 
each other's individual quirks of character 
so well that your reactions become almost 
automatic. And sooner or later the lack of 
novelty begins to show in your perform- 
ances." 

Is this so different from the situation 
which develops in marriage? 

Love-teams always express deep pro- 
fessional admiration and regard for one 
another — in the public prints. "It is an 
honor," they say rapidly, "to play opposite 
an artist (or artiste) of such talent (or 
charm or ability)." One wonders whether 
human nature, being what it is, can endure 
the strain of constant contact, rivalry in 
the number of close-ups, and so forth, 
without some friction creeping in. 

Even husbands and wives sometimes 
clash over their respective careers! 

It is said that when Lew Cody and Aileen 
Pringle signed new co-starring contracts 
with M-G-M, neither of them was overly 
pleased with the arrangement. There was 
no open break between them. But they 
were not enthusiastic over one another. 

He Knew Her Onions 

INDEED, there was a rumor that Aileen 
used to eat large amounts of onions and 
garlic when she was about to play in a love 
scene with her screen lover — ^just as a neat 
and subtle way of annoying the gentleman! 
A wordless expression, as it were, of her 
strong dislike of the arrangement. 

Now, however, they seem resigned to 
their mutual fate and there is a deal of 
clowning, indicating cordial relations, be- 
tween tTiem on the set. And they never 
meet — on the lot, on the street or in a cafe — 
without exchanging a platonically pro- 
fessional kiss of greeting. Just by way of 
keeping in practice, no cfoubt! 

Charles Farrell and Janet Gaynor man- 
aged to remain friends during their period 
of co-starring. They took a comradely 
interest in each other's careers and offered 
each other much advice upon screen tech- 
nique and what-not. 

They have been parted for a few pictures 
but will play together again soon, it has 
been announced. 

Lili Damita, Ronald Colman's new 
professional mate, is rumored to have 
already developed quite a romantic attach- 
ment for her leading man. Lili, being a 
fervent French damsel, and Colman, by 
repute, at least, a cold and reserved 



Englishman — that combination should 
prove interesting when they get into the 
love scenes! 

One of the most amusing love-teams we 
have seen was Bernard Gorcey and Ida 
Kramer, who played together for five years 
in "Abie's Irish Rose" upon the stage and) 
who traveled to Hollywood to play in thei 
screen version of that classic. 

Unmarried But Intimate 

EACH was happily married to someone 
else. But they had played husband and 
wife for so long that quite a domestic 
intimacy had sprung up between them. He 
called her mama and she reciprocated by 
calling him papa. And she added, more- 
over, that "Papa understands me better 
than my own husband does! But then, I 
have seen more of him!" 

All of which just goes to show what may 
develop between some of our love-teams if 
they play together long enough. 

Dorothy Mackaill and Jack Mulhall 
were dissatisfied with their co-starring 
arrangement but the public liked them so 
well that they have been forced to com- 
promise. They are to make two co-starring 
pictures and then two pictures separately. 
Which seems to correspond to the modern 
idea of vacations for married pairs! And 
which, incidentally, should make for 
happier relations. 

Dorothy Dwan, who has played in good- 
ness knows how many Tom Mix wide-open- 
space productions, avers that she knows 
what Tom likes for breakfast quite as well 
as she knows what her husband likes. That 
comes from sjjending weeks on desert loca- 
tions with a man. 

Familiarity bred friendship in their case. 
For Dorothy hated Tom quite cordially 
when she first played with him. And now 
she thinks he is just the blue-eyed boy! 

While Mary Brian and Richard Dix were 
never officially dubbed a love-team, they 
have played together in a number of 
successive pictures. 

Richard took an indulgent, big-brother 
attitude toward the demure Mary, calling 
her Rough-Neck, because, he explained, 
"It is so exactly what she is NOT!" 

Sweet and Dimple 

AND Mary blushed and dimpled under 
ji\_ this badinage, crying that Dick was 
"such a TEASE!" and being, apparently, 
very much shocked and confused by his 
declarations that she was much too noisy 
on the set and really a very rowdy person. 

He embodied all of Mary's rapturous 
ideals of what a leading man should be. He 
was handsome, good to his mother and kind 
to extras and prop men. Perhaps Richard, 
being a man, basked a little in this fervent 
admiration. And he doubtless thought Mary 
a girl possessed of excellent judgment. 

There is really much more to-do made 
over the breaking up of a love-team than 
over the mere divorce of a real-life married 
pair. The public feels more intimately ac- 
quainted with a couple whom they have 
watched yearning, languishing and embrac- 
ing through a number of pictures. There is 
a pathos in the parting of a pair of perfect 
screen lovers that is seldom achieved in the 
separation of a mere married pair. 

But, as in real life, they soon team up 
again and in no time at all, here they are, 
yearning and languishing at a new pro- 
fessional mate! 

One wonders how it would feel to be the 
husband or wife of a member of one of these 
pairs and have one's spouse come home at 
night just all worn out from a hard day of 
embracing someone else! 



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Reggy Spank 

{Continued from page j^) 

snoopy old questions. So for the most part 
Bubbles just sat back and listened and 
Reggy answered everything. Now and 
then Bubbles chirped in with something — 
but it was Reggy who was really the meat 
of the thing. 

After the argument about the salad we 
got to talking about Bubbles's work in 
pictures. "After you are married, are you 
going to keep on in the movies?" I asked 
her. I hadn't yet learned to address my 
questions to Regg>-. 

"I don't know," Reggy replied. "I 
don't want Bubbles to work witn any one 
but myself. She doesn't want to either. Do 
you, baby?" 

" No," said baby. 

"They wanted to sign her up on a five- 
year contract out at Universal after they 
saw how marvelous she was in my last pic- 
ture, but I haven't made up my mind 
whether I want her to accept it or not. If 
a player is under contract, a studio can cast 
her in any picture it chooses." 

Baby Touchy 

WHY wouldn't that be all right?" I 
wanted to know. I'm dumb about 
some things. "You'd both be on the same 
lot and you could be near each other." 

Reggy admitted that much but there was 
another flaw. "Bubbles is very sensitive," 
he explained. "Aren't you, baby?" 

"Yes," said Bubbles. 

In fact, it turned out that Bubbles was 
very, very sensitive. "One cross word to 
her and there are tears," Reggy went on. 
"She did dandy work in this picture with 
me, but it was because we understood her 
and took plenty of time with her and didn't 
allow her to become nervous. Now if some 
director who didn't understand her got 
hold of her and scolded!" 

Doodness dwacious! Even I could imagine 
how awful that would be. 

"They wanted to take a test of her for 
the r61e of Magnolia in 'Show Boat,' but I 
put my foot down on that. Harry Pollard 
is going to direct it; and while Harry is a 
peach of a fellow he gets a little tempera- 
mental about his work. I wouldn't have 
allowed her to play the part if they had 
offered it to her. I wouldn't even let them 
make a test." You ste/e, papa Icnows best! 

"Bubbles hasn't had an awful lot of 
experience in pictures," Reggy continued. 
" Besides, they had her under contract out 
at Universal once before and fired her." 

Bubbles nodded, thus confirming the 
outrage. 

" I remember when I first saw Bubbles as 
a little extra girl on one of my sets. I was 
immediately impressed with her picture 
possibilities. I asked her to give me some 
stills of herself and I took tnem into the 
general manager and told him that I 
thought this little kid had a big future on 
the screen." 

This was long before he ever dreamed 
that he was boosting his future wife — in 
fact, Reggy had another wife at the time — 
so you can see how unbiased he was about 
it. 

Bidding for Bubbles 

WELL, they put her under contract — 
one of those stock contracts for six 
months — but they never did anything with 
her and at the end of that time they let her 
go. Now," said Reggy, with pardonable 
pride, "that she has done so well as my 
leading lady in the last picture, they are 
trying their hardest to get her back again." 
Reggy smiled at Bubbles. Bubbles 
smiled back. It was too cute. It made you 
{Continued on page 79) 







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Evil as You and I 

{Continued from page jy) 



had gone out somewhere. Dick reminded 
me of a year ago this past Fourth. We were 
on a yachting trip together, just the two of 
us, and we were as blue as herons and more 
depressed. We were lonely. Nobody cared. 
We could have had girls if we'd wanted 
them. We didn't. Not that sort of thing. 
And Dick said, ' And now look at me, hap- 
pily married — and loving ill'" 

I thought, "He'll make a wise crack now. 
He'll pull some line about the fatuousness 
of that." 

But he didn't. Rather, the weary eyes 
looked wearier than ever. And a little sad. 
Do bad men have their yearnings, too? 
Have we been wrong, about them all this 
while? Simple yearnings for simple things. 
Bread and a hearthstone and a woman and 
the patter of baby feet? 

We dismounted at the Club. Inside, Bill 
ordered cut fruit and iced tea, and it doesn't 
matter what / ordered. To anyone but Bill. 
He didn't have anything on his hip, either. 

I said, still angling, "I don't see what 
men get out of cuties, anyway. Brainless. 
But they marry 'em and then they yowl 
about their hard luck." 

That ought to elicit a Decameron, I 
thought. No such a thing. Bill was pro- 
found. 



Sex Appeal Saddens Him 

"TT'S nature," he said, sadly. " Nature 
X tries to trick us and she usually suc- 
ceeds. Most men want two things in a 
woman — the mother and the sex appeal. 
The cuties have the latter. No doubt about 
that. We fall for 'em and nature continues 
her funny business. She makes of physical 
attraction a snare and a dream into which 
we read all the things we want to think are 
there. Too late, we find that they are not. 

"I believe in Lindsey's Companionate 
Marriage for this reason. It might save in- 
cautious youth a lot of heartbreak — and 
bills. Most attractions are matters of chemi- 
cals. They're cases of getting up in the 
morning and saying, casually, 'Good morn- 
ing, dear.' The partner of your joys and 
sorrows will immediately bark back, What 
do you mean, good morning? Why do you 
say it in. that tone of voice?' You explain, 
drearily, that you didn't say it in any tone 
of voice. She wails, 'You're calling me a 
liar, then, are you? Boo, hoo, hoo!' And 
zowie, they're off! 

" It's the fault of neither one of them. 
It's the fault of nature who mixed the 
chemicals and let 'em 3our. It's better to 
split a marriage like that, children or no 
children, than bring a kid up in a home 
where wrangling is the order of the day. 



Itl 



That's what I've done in my own case. I'l'l 
have my boy with me, part time, when hi 
is six years old. I believe a very young chilf.f 
belongs with the mother. 1 

" It takes maturity of viewpoint and th«j 
cooling down of the old blood before a mari 
can know the woman who is right for him/ 
For all time, not for a honeymoon. By thalj 
time he's got nature's number — at least ir 
so far as the old beldame ever reveals it. 

"The studios," I suggested, limply," aren'tl 
conditions there conducive to " I 

"Hard work," said Bill, promptly. "Hard! 
work and very little else. And harder than| 
ever now that talkies have come in — to sta 
or not to stay is not the question. They'i 
here now and we've all got to be pioneei^ 
all over again; and who in hell wants to " 
a pioneer? 

"They've got me worried. My role 
'Interference' has got me worried, too. I 
one of those things called 'actor-proof.' 
dying gent who atones for his sins by mail ^ 
ing the beau geste at every turn. I'd much 
prefer to play some obscure part of which 
no one had much hope. Then, anything I 
might make of it would be a pleasant sur- 
prise. But this slice — they expect some- 
thing phenomenal. And all my little inhibi- 
tions have come yodeling. 

"What's more, we have to make it twice. 
That's talkies for you. The first time we 
make it the regular way, silent drama, for 
universal consumption. The second take we 
do the talkies for the English-speaking coun- 
tries which are, to date, the only countries 
where talking pictures can be shown. 

"And that isn't all — I had a talking test 
the other day and I came out lisping. I 
talked like thith: 'Ithn't it a nith day, 
thweetie?' Buster Collier made a test and 
didn't lisp. And he does. 

"Besides, talking roles should have rehear- 
sals, careful rehearsals and many of them. I 
suppose I got some of my capacity for taking 
pains from the late Leo Ditrichstein, with 
whom I used to play. Never did man labor 
over the faintest voice inflection, the merest 
suggestion of emphasis, as he did. The re- 
sult was perfection. 

"If my acting is nicked, I'm done for. I 
haven't a Barrymore profile or a Gilbert 
personality — and I know it. Anything I 
have achieved has come as a result of my 
acting, such as it is. I'm no lily for looks. 

".'\nyway, we're in for it and that's that." 

So was I in for it. Well, what to do about 
it? The salacious, subtle desperado, the de- 
spoiler, the vandal of virtue had turned out 
to be a decent fellow, after all. The wise- 
cracker, merely rather wise. Scratch the 
surface of a movie actor and you'll find, I 
fear, a gent. 



Stop Me If You've Heard This 



{Continued Jrom page 25) 



ESTELLE TAYLOR: Macintosh awak- 
ened to find that his wife had died 
during the night. 

"Hey, cook!" he yelled as he jumped 
out of bed. "Ye dinna need poach but 
one egg this mornin'!" 

CHARLIE CHASE: A Scotchman dashed 
up to the studio doctor and panted, 
"I've got a sliver in my tongue!" 

"How did that happen?" the doctor 
asked. 

"A man dropped a pint of whiskey on 
the floor." 

RICHARD DIX: There was a Scotchman 
who got a pair of spats for Christmas. 
And he had them half-soled and heeled. 

JANET GAYNOR: "Did you hear the 



story of the pair of tights?" 

"No." 

"Well, it seems there were two 
Scotchmen." 
MARY DUNCAN: Once there was a 
Scotchman who wouldn't send his little 
boy to school because the lad had to pay 
attention. 
CHARLES FARRELL: A Scotchman ap- 
peared on the golf course and called for 
a caddy. When the caddy appeared, he 
looked him over and said: 

"You are a likely-looking lad, but 
are you any good at finding balls?" 

"Oh, yes, sir," replied the boy. 

"Then go and find one and we'll 
start." 



74 



Broadway Mobilizes 
for the Talkies 

(Continued from page 4g) 

I the excellent preliminary training of the 
radio. 

Such theatrical clubs as the l.ambs, the 
' Players and the Friars hummed with the 
cossip of a millennium, which was to bring 
the actor to a professional and economic 
rank, hitherto, never considered possible. 
' The conversation became more and more 
animated, more and more concentrated 
uf)on this latest phase of entertainment. It 
would not require an unusually alert re- 
porter to catch snatches of it in his travels 
about town: 

"The Rarrymores are sitting pretty all 
' right. They screen well and they know- how 
' to sfKjak lines." 

"The movie studios will have to hire 
regular voice trainers now." 

" \'cs, and regular stage directors, too. 
I wouldn't be surprised if the movietone 
will have both a stage and screen director." 

"Well, at any rate, the movies have got 
to have voices now. That's where we fit in. 
Maybe, we'll be invisible, but we'll have to 
lie heard if the movietone's going to be a 
success." 

" Remember Faversham, and Mrs. Fiske, 
and Fred Stone, and Elsie Ferguson, and 
Madge Kennedy, and \\ iliiam and Dustin 
Farnum? They all tried the movies. The 
Farnums were in them a long time. They'll 
all be back now, or should be. Particularly 
Faversham, with the beautiful voice that 
he has and his exceptional ability in sfjeak- 
ing lines." 

Broadcasting Original Casts 
"Tj \'FRY Broadway actor ought to get 

V^j a chance now. Every big hit will be 
produced with the cast intact on the screen." 

"Yeah, everybody's got a chance but 
the old ranters, and there are not many of 
them left." 

"I wonder if it's going to be just a 
curiosity." 

" Don't you believe it, it's going to be the 
ultimate, the complete entertainment. It's 
going to combine drama, opera and the 
movies." 

"Looks to me as if the movies are right 
back where they started, with everylx)dy 
groping around until some kind of technique 
is [)erfected." 

" No one knows much about it — it's all 
haphazard and chaotic." 

"Oh, I don't know. First you were seen 
and not heard. Now you're going to be 
heard, too." 

"Well, if Shaw can do it, I can." 

" Don't be too sure. Shaw's an Irishman. 
All Irishmen know how to talk and most of 
tliem take good pictures. I wish 1 were an 
Irishman — they have all the luck." 

"Luck — that's what it is. That's all 
there is to it. To think of him being a wow!" 

".Maybe, we'll be a wow, too." 

" Maybe, who knows? Alaybe, we'll have 
to grow whiskers, too." 

Yes, St. Bernard stalks along Broadway! 
v. Bernard Shaw from John Bull's other 

land, with his tongue in his cheek, a twinkle 
HI his eye and his hand suppressing a belly 
laugh at the expense of all actors this side of 
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EARLE LIEDERMAN 

Dept. 3210, 305 Broadway. New York City 



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Dept. 3210. 305 Broadway, New York City : 
EARLE LIEDERMAN ; 

l>ear Sir: Please send me. absolutely FRKK! 
and without any ol>lli;aiion on my part whatever. ; 
a copy of your latest book, "Muscular Develop-! 
inent." ! 



Name . 

.street 



City State 

(Please write or print pluintyt 




Question: what is so rare as a day in June ? Answer: a day in June Collyer's 
life when she doesn't get heaping deskfuls of fan mail 



The Troubadour of Silent Song- 

{Continued from page jj) 



little sound, like a little color, will go a long 
way. And — praise be — the silence of the 
screen will always be maintained, although 
perhaps its blessed noiselessness will not be 
universal. 

Lubitsch is a swift and sure worker. He 
spends much time in preparation. And 
during the preparatory period he comes 
nearer than another to cutting his picture 
before it is made. Which is one way of 
saying that he eliminates unwanted se- 
quences from his script before his picture is 
shot. So that upon its completion there is 
a minimum of footage left upon his cutting- 
room floor. He also adheres closely to his 
pre-arranged plan of action. Many changes 
may be introduced while the story is being 
made ready. But few enter once production 
has begun. 

He has the mind of a raconteur. The 
faculty of telling a tai^ The ability to 
recognize good story m:.:erial when he sees 
or hears it. These directors, after all, are 
the reincarnation of the ancient wandering 
minstrels. Save that in place of journeying 
from hearth to hearth with their romantic 
imageries, they remain stationary and spin 
their yarns in celluloid fabric which goes 
into the world, and round it, propelled by a 
complicated mechanism more in keeping 
with our age. 

His Mind Unfettered 

LUBITSCH places his own valuations on 
J men and things. He refuses placid 
acceptance of precedent. Or to take as 
gospel the opinion of others. To illustrate, 
"The Last of Mrs. Cheyney" was regarded 
as a woman's vehicle. The lines of the play 
had been taken to indicate that the starring 
r6le was essentially feminine. Lubitsch, 
however, entirely disregarded this, and 
reading the story with an op)en mind, en- 
visioned the principal action as in the 
keeping of the masculine character. Had 



the play been picturized by Lubitsch, its 
star would have been John Barrymore. The 
feminine part would have been secondary. 

The director requires freedom of mind, 
and will not permit the obtrusion of unim- 
portant matters. He declines to drive ai 
motor-car, simply because his time inj 
transit is frequently devoted to the mental^ 
mastery of details concerning his work. 

Himself a picture actor of no mean ability, 
he knows how best to obtain from his 
players the results he may require. He is 
never bellicose, seldom exasperated. Al- 
though he has been known to rave to all the 
gods at once in a clash with tempera- , 
mentality, or when the rasping edge of I 
seeming incompetence has pierced to thej 
quick of his sensibilities and patience. Asi 
a rule, however, he is a whisperer, passing^ 
here and there among his people explaining i 
the action of the sequence, and perhaps j 
quietly rehearsing a bit according to the 
desired interpretation. 

He is familiar with the powers and the 
limitations of a camera, and thoroughly 
conscious of pictorial composition. He 
does not usurp the function of the camera- 
man, nor of any technician on his set. Sur- 
rounded with experts in their professions, 
he delegates authority, permitting each 
shoemaker to stick to his last, rather than 
endeavoring to do everything personally. 

LIKE many others of the film colony who 
J are loyal to Hollywood, Lubitschj 
nevertheless feels the desirability of an| 
annual hegira away from the sun-kissed- 
slopes — and the too confining circle of mo- 
tion picture things and people. The wish 
for change of scene and of environment 
seems necessary to the construct i%'e workers 
in the movies. Without it they go stale. 
The work of nearly all the important per- 
sonalities is so arranged that a fairly 
lengthy absence from the industry may be 
effected annually. 



76 



I Kute and Kool 
and Kalm 

{Contif'iUed from page 42) 

Writed," she said, as though something 
;houId be offered in explanation. "My 
father was a lawyer and I grew up listen- 
ing to the fine points of various law cases 
jiat he handled. When we left San Fran- 
b'sco to come down to Los Angeles to live, 
I enrolled in the law classes at high school 
just out of habit. 

"Sally Eilers and I went to school to- 
jgether. We used to have a lot of fun. But 
I couldn't get over Sally's enthusiasm about 
the movies. For my part, I simply wasn't 
interested in the movies at all. 

"When I see all the pretty girls standing 
around the gate over here at Fox just dying 
to get in pictures, I realize what a lucky girl 
I've been. 1 never did a day's extra work 
in my life. One day I came over to the 
studio to see Frank work — " 

" Frank who? " 

The Test of Luck 

BORZAGE," she put in. "We had 
known him in Seattle. Well, Frank 
asked me to make a test and I did and then 
they offered me a contract. That's how I 
got in pictures." 

"Don't you think they're kinda excit- 
ing?" I asked meekly. 

"Oh, yes. I think pictures are a woman's 
game. I absolutely believe that. There's 
no other profession in which a girl can 
make so much money and have such nice 
things for herself, such as cars and clothes 
and flattery and attention. Hut the main 
reason I am glad I am in them is the happi- 
ness I can bring to other people." She indi- 
cated the large stack of fan mail on the floor. 

For that reason she prefers comedy to the 
darker and gloomier dramatic situations. 

"I would like very much to do the sort 
of comedy pictures Rebe Daniels makes. 
Just the peppy, athletic girl having a lot of 
fun out of life. And then maybe in about 
twenty years I could develop myself into 
the sort of thing Norma Talmadge does." 

I didn't know exactly what to say. So 
I lit a cigarette. 

Fhjpps by Request 

SALLY PHIPPS, of course, is a typical 
comedy name. .My real name is 
Byrncce Beutler but Mr. Shcchan re-named 
me Phipps when he signed the contract 
because it sounded more pert and llappery. 
\\ hen I go into drama, it will be a rather 
hard name to live down. Hut I think a 
name amounts to no more or less than the 
personality behind it. .\.'ary Pickford isn't 
a particularly |)retty name. Hut .Mary has 
made it stand for so much that we think 
it is lovely. That's what I want to do wilh 
my name. Make it stand for something." 

Anyway, Sally still has twenty years 
before she has to worry about the dramatic 
adaptability of her name. That is, if she 
stays in pictures that long. " I'm not worry- 
ing about them. Pictures haven't gctten 
into my blood so much that I couldn't give 
tliem up. I could fool 'cm and get married." 

Having seen Sally around winning danc- 
ing contests with several eligible young 
men, I asked if there was any immediate 
p<jssibility of that. 

She was just about to answer an em- 
phatic no when some mysterious voice from 
nowhere yelled "Hi, Sally." 

Sally fxiked her head out the window. 
1 here was no one in .sight. "I guess it was 
just one of the prop boys or assistants," 
she said, settling herself back on the lounge, 
"They all say 'hello' to me. I think that's 
the best way to get alom.'. To have cvcr\- 
body love you." 




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Alive and Sticking 

(Continued f om page 22) 




well when I'd tell the theater manager. 
'I'm sorry-, son, but I don't believe I'm 
going tz make it this afternoon.' And then 
when I got to the theater and knew t-hey 
were waiting out beyond the curtain to see 
me. I'd get the actor's second wind." 

Once, after a collapse in Cleveland, he 
came back to Hollywood on a litter They 
tried to argue him out of making the long, 
tiresome journey, thinking privately that 
he might as well die comfortably where he 
was, but the terrific will of the man over- 
ruled them, and again he lay and looked out 
over Hollywood, smoking his big black 
cigar defiantly in the face of the grim Reaper. 

And now Theodore Roberts is back again, 
this time without the crutches, leaning 
heavily on a stout cane. At the Metro- 
Gold wy-n- Mayer studio, where he has been 
working in Jack Gilbert's picture, they tell 
me that as soon as the camera begins to 
purr he drops his cane and walks slowly and 
without a limp the few steps necessary' for 
the scene. 

It has been fifty years since he first saw 
Los Angeles, as a young actor barnstorming 
the state, and played before an audience of 
Me.xicans in a German tiirnverein social hall. 
In years Theodore Robserts must be an old 
man, but he doesn't seem old when you lis- 
ten to that powerful voice of his and look 
into those keen eyes. 

You Can't Fight Time 

" T GUESS," he shifts his cigar comfortably 

Jl to a corner of his mouth, "it isn't so 
hard for a man to find himself getting along 
in years. // killed my wife, that and worry- 
ing about my sickness. She didn't know she 
was an old woman, and she was. When she 
realized they were casting her in mother 
parts, it broke her heart. A good many 
women have told me it was the bitterest 
suffering of their lives when they saw them- 
selves thrust aside by some fluffy-headed 
girl. Now I'm supporting stars that were 
prop boys and extra girls when I was being 
starred myself and I don't mind — much. 
It's life. That's one thing you can't fight." 

He moves restlessly in his deep chair, a 
powerful man, impatient of helplessness. 
One thinks somehow of a g^im,'grey old lion 
looking fiercely out behind bars. "They 
can't star me," he nods. "I know that. 
Audiences are about fourteen or fifteen 
years old as a rule. They don't go to the 
movies to see an old man. Xo, they pay their 
money to look at the young folks like Tony 
Moreno or Wanda Hawley — " 

Young folks like Tony Moreno or Wanda 
Haxdey. How much electricity has been 
spent in theater signs since those names 
burned among the brightest. Vet to Theo- 
dore Roberts they are the youngsters of the 
screen. And these others — these boy stars in 
their teens and these schoolgirl finds, what 
does he think of them? 

"Actors? They're not actors. People 
aren't actors because they have pretty 
profiles and yellow hair. Acting is a God- 
given thing. It's born in yoti. And if it 
isn't, you'll never learn it. 

"They need them for a picture," he nods, 
"they've got to have youth, and naturally 
youth and experience don't go together. If 
a star is young enough and good looking 
enough, it doesn't much matter whether he 
or she can act as long as there are real actors 
in the cast. That's what you're forgetting, 
that's what everybody forgets — the other 
people in the picture, the ones that don't 
get their names in electric lights. They're 
often the ones who do the acting for the 
picture." 

Theodore Roberts's popularity in irascible 
business-man roles was so great at one time 
that Lasky signed him up on a life con- 



tract and made a star of him. .\fter 
first few pictures he came voluntarily to tb\ 
front office and resigned his stardom, 
can't carry your pictures," he told th 
fiercely chewing his cigar, "I'm too old. Bi 
I'll support your stars." 

Strangely enough thereafter, the nani<J 
chosen by theater managers to put iil 
electric lights over their theaters was thai 
of Theodore Roberts as frequently as it wa:i 
that of the young star. The big black stogiei 
held at varying angles to express different 
emotions, was Roberts's trade-mark; 
audiences in .\ustralia, Tokio and Calcut 
burst into delighted laughter when it| 
appeared. 

"I adopted it in self-defence," he chuck-i 
les, "the theaters where I used to play all] 
had Xo Smoking signs back stage, but I 
couldn't get along an entire evening without I 
smoking. So I wrote a cigar into all th^^ 
stage directions for my parts. " 

It is almost seventy years since The 
Roberts was born in San Francisco, 
that time, he says heavily, he has watched 
the whole world change. "When I was a 
boy. most people didn't know what to do 
with their evenings beyond sitting on their 
front stoops. If a man dropfjed in at the 
billiard parlor or the bowling alley, he was 
called wild. If he went to the corner salooi] 
he was a dissolute character. 

Any Place But Home 

THERE was always an opera house in 
town, but most folks didn't know 
what the inside of it looked like. Maybe a 
man was foreign born, maybe he couldn't 
afford the money to go to shows, maybe he 
thought the theater was an invention of 
the devil. Then along came the movies 
that anyone can understand and afford. 
And of course nothing is wicked these days. 
So nobody stays at home evenings any 
more. That's why I don't take much stock^^ 
in this new fangled television they talh 
about, movies radioed into your own home 
Because most people don't want to staj 
home." 

As for the talkies, Roberts says they are" 
not needed, that they will divert the interest 
of the picture fans from the movies to thCj 
sf)eaking stage. Already in his forty week 
of trouping through the towns and cities of 
the United States he has seen it happening 
— long closed theaters and opery nouses 
which have been used for storage ware- 
houses are being dusted: the fat tummies ( 
plaster cherubs on the proscenium are beir 
regilded. Stock companies have moved int 
town, and the community theater idea 
flourishing. The stage is coming back inl 
its own. 

Something has happened to the life conJ 
tract which publicity pictures showed! 
Theodore Roberts signing some years aeol 
("They've just sort of forgotten it," nej 
hastens to assure you). He is free-lancing. 
From the broad bay window of his old- 
fashioned house he can look down o\ 
Hollywood like another Moses from 
mount and see the places where he 
once pKJwerful. And now they want young- 
sters — youngsters like Moreno and \\'anda j 
Hawley. 

"But I don't mind growing old," saysj 
Theodore Roberts stoutly, "not as long as| 
I can keep on acting. .\n actor wants to' 
die with his grease paint on. It's the ones' 
that struggle against age and try to make i 
people believe they are still young that feel 
it most. I'm happy. I'm haxnng a real ', 
good time being